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Tomoe
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Tomoe (巴; also written 鞆絵),[a] commonly translated as "comma",[2][3] is a comma-like swirl symbol used in Japanese mon (roughly equivalent to a heraldic badge or charge in European heraldry). It closely resembles the usual form of a magatama.
The tomoe appears in many designs with various uses. The simplest, most common patterns of the device contain from one to four tomoe, and are reminiscent of similar designs that have been found in wide distribution around the world, such as the triskelion. When circumscribed in a circle, it often appears in a set of three, with this design known as the mitsudomoe (三ツ巴).[4]
Etymology
[edit]Originally, the Chinese character 巴, a hieroglyphic character that represents a person lying on their stomach was applied, because of the similarity in shape. But it is likely not directly related to the Japanese word "Tomoe" itself. The character 巴 (Chinese pronunciation bā) has several meanings, ranging from a Sichuan toponym to a crust formed by dryness, parts of the body such as hands or cheeks, and, as a verb, bearing the sense of "to hope", "expect" or "be anxious over". The Chinese character used to depict, according to Bernhard Karlgren's interpretation of the small seal script graph, a python.[5]
The most common view is that the word refers to a picture e (絵) of a tomo (鞆), or drawings on the latter, the tomo in question, in archaic Japanese tömö,[b] being a round leather arm protector, like the bracer or gauntlet tab of European archery.[8] Roy Andrew Miller describes it as "a small hollow sack or bulb of sewn leather with leather tie straps, sometimes embossed with a comma like decorative device (tomoe) of continental origin".[6] It was worn on the left elbow or wrist of an archer either to prevent chafing from the bowstring (tsuru: 弦) twanging back to position on the release of an arrow, or to strike fear into the enemy from the sharp sound caused by the bowstring hitting the wrist guard.[9][10][6] The 'tomo picture' (tomoe) can therefore be interpreted either as a visual pun on the tomo represented, or, otherwise, as taking its name from that object. Several such examples are conserved in Nara at the Shōsōin.[6]
Another view is The Japanese word itself may be of Mongolic origin, since it bears comparison with Middle Mongol tomuüa "twisted horse headdress", from the verb tomu (plait, twist), and Ordos Mongolian t'omok ('a little bag hung on a horse's head'). In this latter connection Tang ceramic figures of horses show small sacks tethered to the lower neck, perhaps to stop the horse from throwing its head back.[11]
Theories of its origin
[edit]The origin of the tomoe design is uncertain. The most common view is that tomoe patterns originated in magatama jewelry from late Jōmon period approximately 1,000 BCE of Japan which was used for the shinto rituals. A pattern resembling the two-comma tomoe (futatsudomoe) has been found in ancient cultures on all inhabited continents.[12] A stylized design on a Yangshao bowl dates back to 2,000 BCE.[13] The motif of two encircling dolphins biting each other's tails has been found on Cretan ceramics dating from the Minoan period (1700–1400 BCE), and the two fish biting each other in circular fashion recurs in both Chinese and Central Mexican ware.[14] It is frequently seen on prehistoric Celtic remains, and one mirror from Balmaclellan is almost identical to the mitsudomoe.[15] In China, the double comma form came to be assimilated to the Yin-Yang philosophy of opposing male/female principles, formalized in the Tàijítú design of the late Song dynasty period.[c] This in turn recurs in the seventh century in Unified Silla (now Korea), where it was known as taegeuk.[17] and also in the Japanese futatsudomoe and mitsudomoe patterns, the former in association with divinatory rites, the latter frequently linked to temple drums with apotropaic functions.[3] According to Jean Herbert in these contexts, the mitsudomoe embodied three spirits, the yin-yang dyad being represented by an aramitama (rough kami) and a nigimitama (gentle kami), while the third comma denoted the sakimitama, or lucky spirit.[d] However, there is no clear evidence tomoe, taijitu and yin-yang is directly related.
Neil Gordon Munro argued that the basis for the mitsudomoe pattern, a motif found also among the Ainu, was the eastern European and western Asian figure of the triskelion, which he believed lay behind the Chinese three-legged crow design, and, in his view, its reflex in the mythical Japanese crow, the Yatagarasu (八咫烏).[18][19]
Tomoe emblem history in Japan
[edit]
As a leather[e] wrist protector tomo appear to have been employed at least as early as the Kofun period, where they are frequently attested on haniwa terracotta figurines depicting archers,[21] and may even have had, aside from their military function, a ritual or fetish value, perhaps related to their phallic shape.[11] The pattern was also interpreted as water swirling, and because it is a water-related pattern, the Tomoe pattern was applied to roof tiles on buildings at the end of the Heian period as a fire protection.
The tomoe emblem established itself as a common emblem during the Fujiwara ascendency of the late Heian period, around the 10th–11th centuries, and proliferated through to Kamakura times. It is thought that a resemblance between the tomoe and the Emperor Ōjin found in the Nihongi may also account for its rising popularity among samurai, since Ōjin was apotheosized as a god in Hachiman shrines.[9][22]
In the Nihongi account, when Ōjin was born, inspection of his body revealed a fleshy growth on his arm similar to a warrior's wrist or elbow pad, and for this reason he was called homuta (誉田: lit.(Lord) Armguard)[23] (OJ: pomuda),[f] an old word for a tomo.[g]
Usage in Ryukyu
[edit]
Fragmentary sources suggest that the First Shō dynasty, who founded the Ryukyu Kingdom, used the symbol if not as their family crest. American historian George H. Kerr claims that King Shō Toku adopted the mitsudomoe as the crest of the royal house after his successful invasion of Kikai Island in 1465.(Kerr 2011, p. 101) The Second Shō dynasty, who ruled the Ryukyu Kingdom from 1470 to 1879, adopted the mitsudomoe as its family crest. Since it was the royal family crest, its usage was once severely restricted. Okinawans who visited Japan shortly after the kingdom's annexation in 1879 were surprised that mitsudomoe banners were flown everywhere.[27] During the American military occupation of Okinawa Prefecture, the United States Civil Administration of the Ryukyu Islands (USCAR) made a failed attempt to recreate a Ryukyuan national flag with a mitsudomoe, only to find that Okinawans were apathetic towards, or did not recognize, the former royal family's symbol. Today the symbol is still regarded as a symbol for Ryukyu and, to a lesser extent, Okinawa.
Symbolism and uses
[edit]The mitsudomoe is closely associated with Shinto shrines, in particular those dedicated to Hachiman, the god of war and archery. Hachiman in Shinto cosmology and ritual, as for example at Hakozaki Shrine, is repeatedly connected with the number three.[28] In Shintoist thinking, this number is taken to represent the three aspects of the four mitama or 'souls' (the other, the kushimitama being considered far rarer).[29]
It is also commonly displayed on banners and lanterns used in festivals and rituals related to Amaterasu-ōmikami,[30] who in the Kojiki confronts her brother Susanoo when he usurps her terrain on earth by dressing as an archer, adorned with magatama beads and 'an awesome high arm-guard' (itu nö takatömö).[h]
A third element of its symbolic panorama concerns water, an association engendered by its swirling pattern. For this reason, it is said to be located on roofs and gables as a charm against fire.[32]
Since Hachiman was worshipped as the guardian of warriors, it was adopted as a common design element in Japanese family emblems (家紋, kamon) by various samurai clans[33] such as the Nagao, Kobayakawa and Utsunomiya. Among aristocrats, the Saionji family used it as its family emblem. The Koyasan Shingon sect of Buddhism uses the mitsudomoe as a visual representation of the cycle of life.
Tomoe also is a personal name, dating at least back to Tomoe Gozen (巴御前), a famous female warrior celebrated in The Tale of the Heike account of the Genpei War. In Kyoto's Jidai Matsuri festival, she appears in the Heian period section of the procession in samurai costume, and parades as a symbol of feminine gallantry.[34]
The tomoe has also been adopted as a corporate logo in Japan.[35]
The mitsudomoe is also the logo of the OBS Studio application since it released in 2012.[36]
Similar designs
[edit]The two-fold tomoe is almost identical in its design elements to the Chinese symbol known as a taijitu, while the three-fold tomoe is similar to the Korean tricolored taegeuk which is originated in taijitsu. However, there is no clear evidence tomoe and taijitu is directly related. Also note that the negative space in between the swirls of a fourfold tomoe forms a swastika-like shape, which is fairly prominent in many Indian religions such as Hinduism and Jainism and Buddhism. A similar design can also be found in the some forms of the Celtic spiral triskele as well as with the Basque lauburu and the Sicilian Trinacria.
Gallery
[edit]-
Futatsudomoe, "twofold tomoe" -
-
Yottsudomoe ("Fourfold tomoe") -
Migiitsutsutomoe ("Fivefold tomoe")
See also
[edit]- Gankyil, a symbol in Tibetan and East Asian Buddhism composed of three swirling and interconnected blades
- Gogok, a comma-shaped jewel found in the Korean Peninsula
- Lauburu, the Basque cross
- Mon (emblem)
- Pig dragon or zhūlóng, a zoomorphic stone artifact produced in Neolithic China with a C- or comma-like shape
- Triskelion
Notes
[edit]Explanatory footnotes
[edit]- ^ There are in fact seven variants for writing tomoe:ともゑ,巴, 鞆画, 鞆,鞆絵, 艫絵 and 伴絵.[1]
- ^ Roy Andrew Miller vocalizes it tömo. (止毛) This article follows Ōno et al.[6][7]
- ^ Tàijí (太極) being the Primordial One from which the dualities emerged.[16]
- ^ van Gulik citing Jean Herbert, Shintô; at the fountain-head of Japan, Stein and Day, 1967 p.61.[3]
- ^ The Engishiki states that the tomo consisted of an outer covering of bearskin, and an inner sheath of cowhide, though variants with deerskin were also manufactured.[20]
- ^ Pomuda-wakë-nö-mikötö.[24]
- ^ 既産之、宍生腕上、其形如鞆、是肖皇太后爲雄裝之負鞆肖、此云阿叡、故稱其名謂譽田天皇 ('When he was born there was flesh growing on his arm in shape like an elbow pad. As to this resemblance, the Emperor judged that it was the elbow-pad worn as a manly accoutrement. Therefore he was styled by this name, and called the Emperor Homuda').[25][26]
- ^ 伊都之竹鞆.[31]
Citations
[edit]- ^ Brown 1998, p. 186.
- ^ Turnbull 2012, p. 43.
- ^ a b c van Gulik 1982, p. 168.
- ^ Repp 2002, p. 171.
- ^ Karlgren 1974, p. 211.
- ^ a b c d Miller 1967, p. 77.
- ^ Ōno, Satake & Maeda 1974, p. 926.
- ^ Munro 1911, p. 49.
- ^ a b SS 1966, p. 121.
- ^ Heldt 2014, p. 191.
- ^ a b Miller 1967, p. 78.
- ^ Darvas 2007, pp. 37–39.
- ^ Darvas 2007, pp. 36–37.
- ^ Darvas 2007, p. 38.
- ^ Munro 1911, p. 52-53.
- ^ Eberhard 1986, p. 283.
- ^ Snodgrass 2015, p. 569.
- ^ Chamberlain 1982, p. 168,n2..
- ^ Munro 1911, pp. 51, 63.
- ^ Munro 1911, p. 50.
- ^ Miki 1969, p. 149.
- ^ Numata 1940, p. 151.
- ^ Heldt 2014, p. 209.
- ^ Philippi 1968, p. 572.
- ^ Sakamoto et al. 1967, pp. 105, n.15, 363.
- ^ Aston 1972, p. 254.
- ^ Taguchi 1978, p. 7.
- ^ Williams 2007, pp. 163–164.
- ^ Herbert 2010, pp. 42–43.
- ^ Munro 1911, p. 48.
- ^ Philippi 1968, pp. 74–75 and n.5.
- ^ Takamori & Huffman 2007, p. 108.
- ^ Munro 1911, p. 62.
- ^ Bauer & Carlquist 1974, p. 43.
- ^ Garcia 2011, p. 23.
- ^ "Meaning of the OBS Logo?". OBS Forums. Retrieved 2022-03-26.
Sources
[edit]- Aston, W. G. (1972) [1896]. Nihongi:Chronicles of Japan from the earliest Times to A. D. 697. Vol. 1. Tuttle Publishing.
- Bauer, Helen; Carlquist, Sherwin (1974) [1965]. Japanese Festivals. Tuttle Publishing.
- Brown, Steven T. (June 1998). "From Woman Warrior to Peripatetic Entertainer: The Multiple Histories of Tomoe". Harvard Journal of Asiatic Studies. 58 (1): 183–199. doi:10.2307/2652649. JSTOR 2652649.
- Chamberlain, Basil Hall (1982) [1882]. The Kojiki: Records of Ancient Matters. Tuttle Publishing.
- Darvas, György (2007). Symmetry: Cultural-historical and Ontological Aspects of Science-Arts Relations; the Natural and Man-made World in an Interdisciplinary Approach. Springer Science & Business Media. ISBN 978-3-764-37554-6.
- Eberhard, Wolfram (1986). A Dictionary of Chinese Symbols. Routledge. ISBN 978-0-415-00228-8.
- Garcia, Hector (2011). Geek in Japan: Discovering the Land of Manga, Anime, Zen, and the Tea Ceremony. Tuttle Publishing. ISBN 978-1-462-90629-1.
- Heldt, Gustav (2014). The Kojiki: An Account of Ancient Matters. Columbia University Press. ISBN 978-0-231-16388-0.
- Herbert, Jean (2010) [1967]. Shinto: At the Fountainhead of Japan. Routledge. ISBN 978-1-136-90376-2.
- Honda, Sōichirō (2004). Nihon no Kamon Taizen (日本の家紋大全). Tokyo: Gotō Shoin (梧桐書院). ISBN 978-4-340-03102-3.
- Takamori, Ikuya; Huffman, Jeff, eds. (2007). Family Crests of Japan. Stone Bridge Press. ISBN 978-1-933-33030-3.
- Karlgren, Bernhard (1974) [1923]. Analytical Dictionary of Chinese and Sino-Japanese. Dover Publications.
- Kerr, George H. (2011) [1958]. Okinawa: The History of an Island People. Tuttle Publishing. ISBN 978-1-462-90184-5.
- Miki, Fumio (1969). Haniwa: the clay sculpture of protohistoric Japan. Tuttle Publishing.
- Miller, R. A. (1967). The Japanese Language. University of Chicago Press.
- Munro, N. Gordon (1911). "Some Origins and Survivals" (PDF). Transactions of the Asiatic Society of Japan. 38: 1–74, 48ff.
- Numata, Yorisuke (頼輔) (1940). Monshō no Kenkyū (紋章の研究: A Study of Crests). Sōgensha (創元社).
- Ōno, Susumu; Satake, Akihiro; Maeda, Kingorō (1974). Kogo jiten 古語辞典. Iwanami Shoten.
- Philippi, Donald L. (1968). Kojiki. Princeton University Press, Tokyo University Press.
- Repp, Martin (2002). "Protecting kami of the Japanese Nation". In Kubota, Hiroshi; Antoni, Klaus J.; Nawrocki, Johann; Wachutka, Michael (eds.). Religion and National Identity in the Japanese Context. LIT Verlag Münster. pp. 169–191. ISBN 978-3-825-86043-1.
- Sakamoto, Tarō; Inoue, Mitsusada; Ienaga, Saburō; Ōno, Susumu (1967). Nihon Shoki (日本書紀 ). Iwanami Koten Bungaku Taikei. Vol. 67. Iwanami Shoten.
- "Shinto Symbols (Continued)". Contemporary Religions in Japan. 7 (2). Nanzan University: 89–142. June 1966. JSTOR 30232989.
- Snodgrass, Mary Ellen (2015) [2013]. World Clothing and Fashion: An Encyclopedia of History Culture, and Social Influence. Routledge. ISBN 9781317451662.
- Taguchi, Nishū (1978). Ryūkyū monshō fu (琉球紋章譜). Hyakunensha (百年社).
- Turnbull, Stephen (2012) [2002]. Samurai Heraldry. Bloomsbury Publishing. ISBN 978-1-782-00014-3.
- van Gulik, Willem R. (1982). Irezumi. Brill Archive. ISBN 978-1-782-00014-3.
- Williams, E. Leslie (2007). Spirit Tree: Origins of Cosmology in Shintô Ritual at Hakozaki. University Press of America. ISBN 978-0-761-83416-8.
External links
[edit]
- Japan Emblem Library - tomoe design patterns (in Japanese)
- JAANUS/ tomoemon
Tomoe
View on GrokipediaOverview
Physical Description
The tomoe is a comma-like swirl symbol characterized by a single continuous curve, often described as a curled tadpole shape with a thicker, rounded head tapering to a pointed tail, resembling the form of a traditional magatama bead.[3] It typically appears in sets of one (hit-tomoe), two (futatsu-tomoe), or three (mitsu-tomoe), arranged symmetrically within an enclosing circle to create a dynamic, flowing pattern.[3] In traditional depictions, particularly the mitsu-tomoe, the three swirls form a balanced triskelion-like configuration, with each element facing the same rotational direction—either clockwise (migi mitsudomoe, or right-handed) or counterclockwise (hidari mitsudomoe, or left-handed)—ensuring harmonious proportions where the overall design fits evenly within the circle without specified fixed ratios but emphasizing visual equilibrium.[3] During the Heian period, these forms featured sharp, pointed tails, evolving to shorter, more rounded shapes in later eras.[3] The name tomoe may derive from the curved shape of an archer's arm guard (tomo), suggesting an early functional inspiration for its form.[3] Tomoe motifs have been rendered in diverse materials across historical artifacts, including ink on silk or paper for painted scrolls and wall decorations, metal engravings or inlays on utensils and armor fittings, fabric dyeing or embroidery for banners and clothing crests (kamon), and incised or molded stone and clay for temple tiles and carvings.[3][4] Earliest known visual representations date to the Heian period (794–1185), such as the sharp-pointed tomoe patterns in the wall paintings of Byōdō-in Temple's Phoenix Hall (constructed 1053) and the stenciled tomoe motifs used as decorative elements on the paper backgrounds of the Genji Monogatari Emaki illustrated handscrolls (early 12th century).[3][4]Etymology
The term tomoe (巴) originates from Old Japanese tomo-e, originally written with the kanji 鞆絵, a compound denoting "drawing" (絵, e) on a tomo (鞆), the leather wrist protector worn by archers to prevent bowstring snap-back.[5] This etymology reflects early decorative motifs applied to archery equipment, with the word's phonetic form evolving in medieval Japanese texts to stand alone as tomoe. The kanji 巴 was subsequently adopted as an ateji—used primarily for its pronunciation rather than meaning—supplanting the descriptive 鞆絵 by the Heian period (794–1185 CE), though the original compound persisted in some scholarly references.[3] In Japanese, 巴 semantically evokes an "eddy" or "whirlpool," aligning with the symbol's fluid, rotational design and suggesting ancient associations with natural swirling motions like water currents or coils.[3] This usage traces to phonetic borrowing from Middle Chinese 巴 (MC *pɑiX), where the character pictographically represented a supine figure on the ground, later extending to denote the ancient Ba tribal state or a serpentine form due to homophony with 蛇 (shé, "snake").[6] However, Japanese adaptation decoupled from these Chinese connotations, repurposing 巴 to phonetically match tomoe while infusing it with indigenous interpretations of turning or spiraling dynamics, as seen in evolving manuscript notations from the Nara period (710–794 CE).[3] The kanji's adoption highlights a pattern of graphic simplification in Japanese writing, where visual resemblance to the symbol's comma-like curl facilitated its phonetic substitution. The prevalent English rendering of tomoe as "comma" stems from its superficial resemblance to the punctuation mark, a translation popularized in Western scholarship since the 19th century, but scholars critique it for neglecting the motif's inherent dynamism and directional flow.[3] More accurate descriptors like "swirl" or "comma swirl" better convey the symbol's kinetic essence, rooted in its etymological ties to motion rather than stasis. This debate underscores the challenges of cross-linguistic equivalence for ideographic terms, where shape alone obscures deeper cultural and phonetic layers.Historical Development
Origins in Japan
The tomoe pattern, a comma-shaped motif, traces its earliest precursors to the Yayoi period (c. 300 BCE–300 CE), where it resembles the curved form of magatama beads, ancient comma-shaped jewels used in rituals and adornments.[7] These beads, possibly linked etymologically to the tomoe through archery guards (tomo), represent one of Japan's oldest ornamental designs.[7] Archaeological finds from the Kofun period (c. 250–538 CE) further illustrate proto-tomo shapes, with magatama appearing as grave goods in keyhole-shaped tumuli burials across Japan, such as those excavated at various imperial tombs.[8] These artifacts, often made of jade or agate, highlight the motif's role in early elite funerary practices.[9] By the late Heian period (c. 794–1185 CE), the tomoe emerged as a confirmed emblem, appearing in wall paintings and on eave-end tiles (kawara) of Buddhist temples and Shinto shrines, as seen in examples from the Byōdō-in's Phoenix Hall (1053 CE) and the Genji Monogatari Emaki scrolls (early 12th century).[7] This marked its transition from ornamental to architectural and symbolic use in religious contexts. During the Kamakura period (1185–1333 CE), the tomoe gained prominence in samurai heraldry, with the three-comma mitsudomoe variant adopted as a kamon by warrior clans, including the influential Hōjō family, who employed it on banners and armor during their regency over the shogunate.[10] Its association with the war god Hachiman facilitated this uptake among samurai, symbolizing martial prowess in battles like those of the Genpei War's aftermath.[11] By the Muromachi period (1336–1573 CE), the tomoe had integrated deeply into temple iconography, adorning roof tiles, utensils, and shrine decorations across mainland Japan, evolving into rounded forms while retaining its pointed Heian variants in select religious sites.[7]Adoption in Ryukyu
The tomoe symbol, particularly in its three-comma form known as the Hidari Gomon or mitsudomoe, arrived in the Ryukyu Kingdom through cultural and military exchanges with mainland Japan during the kingdom's formative era from 1429 to 1879. Its adoption is traced to 1466, when King Shō Toku (r. 1459–1469) incorporated it as the royal crest of the Shō dynasty following his successful invasion of Kikaigashima, where Ryukyuan forces reportedly flew banners featuring the mitsudomoe associated with the Shinto deity Hachiman, patron of warriors and seafarers.[12] This marked the first documented use in royal contexts, distinguishing it from broader Japanese traditions by integrating it into Ryukyuan sovereignty symbols during a period of expanding maritime influence. In Ryukyuan culture, the Hidari Gomon underwent unique adaptations beyond its Japanese origins, appearing prominently in flags, banners, and royal regalia to signify loyalty and resilience. It adorned the sails and prows of royal ships in the 18th and 19th centuries, serving as a maritime emblem amid the kingdom's extensive trade networks. The symbol also featured in artisanal crafts, such as chinkin lacquerware from the 16th to 17th centuries, where gold-inlaid tomoe crests decorated ceremonial bowls and trays used in diplomatic rituals, blending Ryukyuan techniques with motifs possibly influenced by Chinese yin-yang aesthetics encountered through tributary exchanges.[13] These artifacts, including peony-embellished pieces sent to Ming China, highlight the symbol's role in 16th-century diplomacy, where Ryukyu mediated between East Asian powers and Southeast Asian ports like Siam and Malacca.[14] Following Japan's annexation of the Ryukyu Kingdom in 1879, the Hidari Gomon endured as a potent marker of Okinawan identity amid forced assimilation policies. It symbolized cultural continuity in private and communal expressions, evading suppression by appearing in folk crafts and family heirlooms. In the 20th century, the symbol saw revivals during the U.S. military administration (1945–1972), when it appeared on a proposed flag, fostering a sense of distinct heritage. Post-reversion to Japan in 1972, it reemerged in cultural festivals, textiles like sanshin covers, and independence advocacy, representing Ryukyuan pride and autonomy in movements seeking recognition of the islands' pre-annexation legacy.[12][15]Symbolism
Core Meanings
The tomoe symbol, with its distinctive comma-like swirl, fundamentally represents natural cycles and perpetual motion, evoking the dynamic flow of elements such as wind, waves, and the sun's trajectory across the sky. The kanji 巴, which denotes the tomoe, translates to "eddy" or "whirlpool," underscoring its association with swirling natural phenomena that suggest infinity and unending transformation.[3] This swirling form captures the essence of cosmic energy and continuity, as seen in its depiction on the taiko drums of Raijin, the Shinto kami of thunder and storms, where it symbolizes the turbulent forces of wind and lightning.[16] It is particularly associated with Hachiman, the god of war and archery, appearing on shrines and samurai crests. In its triadic configuration, known as mitsu-tomoe, the symbol embodies profound interconnectedness, typically representing the three realms of heaven, earth, and humanity, or alternatively the temporal dimensions of past, present, and future. This structure reflects Shinto cosmology's emphasis on balanced coexistence among fundamental principles, promoting harmony within the natural order.[17] The tomoe also parallels the yin-yang (taijitu) concept, illustrating the equilibrium of opposing forces, yet its dynamic, rotational design highlights harmony achieved through flux and change rather than mere duality. In Shinto tradition, it connects to kami as embodiments of vital natural energies, appearing in contexts of renewal and purification rituals that restore cosmic balance. These associations trace to 8th-century mythological narratives in the Kojiki, where the comma shape of magatama jewels, precursors to the tomoe design, appear among sacred regalia.[17][18]Religious and Philosophical Associations
In Shinto tradition, the tomoe—particularly the mitsudomoe form consisting of three comma-shaped swirls—serves as a sacred emblem representing the interaction of the three realms of existence: heaven, earth, and humanity. This configuration symbolizes cosmic balance and harmony among these domains, reflecting core Shinto principles of interconnectedness and natural order. The symbol is commonly incorporated into shrine architecture and artifacts, such as roof tiles and ceremonial objects, to invoke divine protection and spiritual purity.[19] The tomoe's protective qualities extend to its use on talismans and emblems, where it functions to ward off malevolent forces and promote well-being. Its swirling design evokes dynamic energy and warding motion, akin to natural phenomena like whirlpools or flames, aligning with Shinto beliefs in kami (spirits) that govern natural cycles. Historical associations link the symbol to ancient imperial and divine motifs, emphasizing its role in rituals that affirm human alignment with the sacred.[16][20] Within Buddhist integrations, especially in Japanese sects, the tomoe appears in symbolic motifs like the dharma wheel, often centered within its spokes to denote the eightfold path toward enlightenment.[21]Applications
In Heraldry and Design
The tomoe motif holds a significant place in Japanese heraldry as a core element of mon, or family crests, which were standardized during the samurai era to facilitate identification among warriors on the battlefield and in social contexts. Originating as early as the tenth century, the tomoe gained popularity for its bold yet graceful form, appearing in configurations such as single, double, or triple swirls to represent clan lineage and status.[22] By the Edo period (1603–1868), mon usage became more codified, with tomoe designs integrated into armor, flags, and attire for practical and symbolic distinction.[23] Historical records and catalogs illustrate the motif's extensive variations, with over 200 tomoe-based mon documented in 19th-century heraldic manuals like the Ohatamoto Sōshirushizu, which compiled crests of high-ranking samurai families. These variations range from simple comma-like swirls to more elaborate arrangements enclosed in circles or combined with geometric elements, emphasizing the motif's adaptability in identificatory functions. The aesthetic of the tomoe often evokes a sense of balanced motion, aligning with broader symbolic interpretations.[25] In architectural contexts, the tomoe integrates seamlessly into shrine roofs and castle banners, enhancing both visual appeal and proprietary marking. Triple tomoe patterns frequently decorate ridge-end tiles (kawara) on Shinto shrines, where they serve as protective emblems warding off evil while denoting sacred affiliation.[3] Similarly, castle banners (uma-jirushi) and field standards from the feudal era featured tomoe designs, as evidenced by the right-facing triple tomoe used by the Kobayakawa clan at the 1593 Battle of Pyōkje, signaling command and unity amid conflict. Textile and artifact applications further demonstrate the tomoe's role in design, appearing in intricate patterns on kimono via yūzen dyeing techniques and on sword guards (tsuba) from the Muromachi period (1336–1573). Yūzen, a resist-dyeing method developed in the late 17th century but rooted in earlier pictorial traditions, allowed tomoe motifs to be rendered in vibrant, flowing arrangements on silk garments, blending heraldic identity with artistic expression.[26] On tsuba, iron guards from this era often incorporated openwork (sukashi) tomoe forms, providing both functional balance to the sword hilt and ornamental flair, as seen in examples with comma swirls evoking dynamic energy.[27] In contemporary design, the tomoe persists as a versatile emblem in 21st-century logos and personal adornments, adapting its historical form to modern aesthetics. Japanese brands and media have incorporated it into branding for its concise symbolism of harmony and flow, such as in software interfaces and product emblems post-2000. The motif also features prominently in tattoos, where individuals select triple tomoe arrangements to signify cultural heritage and personal equilibrium, often stylized in minimalist or bold inkwork seen in global tattoo artistry since the early 2000s.[28]In Martial Arts and Rituals
In Japanese archery traditions, the tomoe symbol originated as a design on the tomo, an armguard worn on the left wrist to protect archers during drawing of the bow, as depicted in historical scrolls such as the Nenchu Gyoji Emaki. This motif evolved into the swirling tomoe emblem on kote (wrist guards) in modern kyudo practice, symbolizing dynamic motion and protective focus essential for accurate shooting. During the 12th century, in the late Heian period, the tomoe appeared in samurai warrior codes and crests, referenced for maintaining mental concentration and balance amid battle, as evidenced by its use on armor and banners during conflicts like the Genpei War.[29] The tomoe holds a prominent place in Okinawan karate styles, appearing on dojo flags and uniforms to denote cyclical power and harmony in technique execution. This adoption draws briefly from Ryukyuan traditions, where the symbol signified protective energy in local martial practices. Post-World War II, the tomoe integrated into global martial arts dojos as karate disseminated worldwide through U.S. military veterans and international federations, appearing on patches and signage in competitive events through the 2020s to evoke traditional warrior resolve.Variations and Comparisons
Forms of Tomoe
The tomoe symbol appears in various configurations, primarily distinguished by the number of comma-like swirls and their arrangement, which evolved as a motif in Japanese art and heraldry from the Heian period onward. The single tomoe, known as hitotsudomoe or solitary tomoe, consists of one isolated swirl and was employed for its simplicity in early decorative elements such as seals and architectural tiles predating 1000 CE, including eave-end tiles on Buddhist temples.[3] This form often features a rightward (migi hitotsudomoe) or leftward (hidari hitotsudomoe) curve, reflecting directional variations in early Shinto and architectural applications.[3] Dual and triple configurations build on this basic shape, arranging multiple swirls in symmetrical patterns to convey multiplicity. The futatsudomoe, or dual tomoe, incorporates two swirls typically facing each other or in parallel, used in samurai crests from the Kamakura period (1185–1333) to denote paired elements, such as in Taira clan heraldry.[25] Similarly, the mitsudomoe, or triple tomoe, arranges three swirls in a radial, circular formation, a design prominent in Hachiman shrine emblems and Minamoto clan banners since the Heian period, with rotations specified as rightward (migi mitsudomoe, clockwise-curving) or leftward (hidari mitsudomoe, counterclockwise-curving) to align with contextual symbolism.[3][25] Rare variants extend beyond the common one-to-three swirls, including configurations with four or more tomoe arranged radially for enhanced symmetry. The yotsudomoe, or four tomoe, appears in select Edo-period (1603–1868) crests as an experimental form symbolizing greater harmony, documented in 18th-century family mon records, though less prevalent than triple variants.[25] Other uncommon types, such as kaeruko domoe with opposing directional swirls, further diversify the motif in niche heraldic uses during the same era.[3] Proportions and stylization of tomoe forms have shifted across periods, adapting to artistic media while retaining the core comma shape. In the Heian period, swirls were rendered sharp and pointed, emphasizing elongated curves in wall paintings and utensils, as seen in the Byoudouin Hououdou (1053).[3] By the Edo period, designs became shorter and more rounded for minimalist crest applications on armor and banners.[3] These evolutions prioritized balance and scalability, with radial arrangements maintaining equal spacing to fit circular frames in traditional mon.[25]Similar Symbols Worldwide
The tomoe motif, with its distinctive comma-like swirls, finds parallels in other Asian symbols that emphasize cyclical motion and balance, reflecting historical exchanges during the introduction of Buddhism and Taoist concepts to Japan. The gankyil, a key emblem in Tibetan Buddhism depicting three interlocking swirls often interpreted as fish or flames, shares the mitsudomoe's triadic structure and conveys themes of interdependence and eternal flow, much like the tomoe's representation of dynamic harmony.[30] This similarity underscores broader East Asian symbolic traditions rooted in shared philosophical influences from the 6th to 7th centuries CE, when such motifs spread through cultural and religious interactions.[31] Likewise, the futatsudomoe variant of the tomoe closely mirrors the taijitu, the classic Taoist diagram of yin and yang, where two curved, counter-rotating forms embody duality and mutual generation.[32] Introduced to Japan alongside yin-yang philosophy in the 6th century CE via Korean intermediaries, the taijitu influenced Japanese cosmology and ritual arts, highlighting how the tomoe's design elements facilitated the adaptation of Chinese dualistic ideas into Shinto-Buddhist contexts.[33] These Asian analogs distinguish themselves from the tomoe through color schemes—often black-and-white for taijitu versus the tomoe's flexible hues—but converge on core ideas of perpetual transformation. In Europe, the triskelion emerges as a prominent counterpart, featuring three spiraling arms that evoke motion and triplicity, much like the tomoe's swirling commas. Archaeological evidence from 1st-century BCE sites in Sicily and Gaul reveals triskelion motifs on coins and pottery, paralleling early Asian spiral designs and suggesting diffusion along the Silk Road trade networks that connected the Mediterranean to Central Asia by the Hellenistic period.[34] Scholars posit that nomadic Scythian and Greco-Buddhist artisans transmitted such forms eastward and westward, as seen in hybrid artifacts from Tarim Basin sites blending Indo-European spirals with local motifs.[30] While the triskelion often symbolizes life cycles or elemental forces in Celtic lore—contrasting the tomoe's martial and divine associations—the shared rotational aesthetic points to ancient intercultural dialogues rather than direct derivation. Cross-cultural comparisons extend to indigenous traditions, where 20th-century scholars in comparative symbolism have identified analogous comma-like or curved elements in select motifs, though without evidence of historical contact. In African Adinkra symbols from the Akan people of Ghana, designs like the dwennimmen (ram's horns) feature interlocking curves denoting humility and strength, evoking the tomoe's fluid interlace in a non-representational style.[35] Similarly, North American medicine wheels, circular arrangements among Plains tribes symbolizing seasonal and directional cycles, incorporate radial divisions that parallel the tomoe's implied rotation, as noted in ethnographic analyses of universal symbolic archetypes.[36] These links, explored in works on global iconography since the mid-20th century, emphasize conceptual overlaps in cyclical worldview but highlight distinctions: Adinkra's proverbial specificity versus the tomoe's heraldic versatility, and medicine wheels' grounded, directional focus over the tomoe's abstract swirl. Contemporary global designs have fused tomoe-like elements into hybrid symbols, particularly in eco-brands emerging post-2010, where triadic swirls represent sustainability and renewal cycles. For instance, the universal recycling symbol—a three-chasing-arrows motif designed in 1970 but widely adopted in modern green branding—echoes the triskelion and mitsudomoe in its perpetual loop, appearing in logos for environmental initiatives like the Carbon Fund and various organic product lines to signify resource circulation.[37] Such 21st-century adaptations blend Eastern swirl aesthetics with Western minimalism, as seen in international sustainability campaigns, distinguishing them from traditional tomoe by prioritizing environmental messaging over spiritual or martial connotations.References
- https://en.wiktionary.org/wiki/%E9%9E%86%E7%B5%B5#Japanese
- https://en.wiktionary.org/wiki/%E5%B7%B4#Han_character