Imperial crest of Sanpantul
| Tabe | |
 | |
| Details | |
|---|---|
| Adopted | 1711 AN |
| Escutcheon | Eight-petaled daisy flowers and nine flower reproductive organs |
The State of Sanpantul possessed several imperial symbols and emblems. These included a shield coat of arms, a mon, and a seal. Most commonly, they used a mon called the Love Fruit Flower (Aikamonshō 愛花紋章) (Old Sanpogo: たべ Tabe), which symbolized the imperial office and government of the Sanpantul State. They also had a state coat of arms in the Apollonian style and a seal used to authorize state correspondence and edicts, bearing the inscription "Sanhanto-koku". If the Great Tonugawa was established, the imperial emblems of Sanpantul would apply only to the territory of Sanpantul.
History
The first version of the Aikamonshō was adopted in 1674 AN, widely used by the imperial family and the Asenburi. It was initially unknown which flower the Aikamonshō symbolized; it was initially thought to symbolize the Love fruit flower, hence the name "Tabe" in Old Sanpogo. In 1680 AN, a new emblem was adopted, known as the Three Cranes Emblem; the reason for updating the emblem was to emphasize the sanctity of the crane, the national animal.
This emblem was briefly used when Sanpantul was re-established in 1702 AN, but it was replaced by the Tomoe for a year. The Triskelion, very similar to the Tomoe, was initially brought to the Skerries by Treesia and was an important symbol representing Treesian paganism. However, there is no direct relationship between the Tomoe and the Triskelion; it is assumed that the Tomoe derives from the comma shape used in ancient Nihōn communities. These stones resembled a vortex, and the Tomoe was used to symbolize the war god Hachimon. The Tomoe was used by the Victory Banner, particularly during wartime, to symbolize Katarianism, militarism, and totalitarianism; today, the coat of arms is widely used in various places.
In 1703 AN, the old coat of arms was reinstated, but in the same year, the Pine Tree Coat of Arms was introduced, with the pine tree symbolizing resilience and strength. The Three Cranes and the Pine Tree together were commonly used to symbolize the empire and government. In 1711 AN, the Aikamonshō was reintroduced in a revamped form, this time with floral reproductive organs, which had originally symbolized the Love fruit flower.
In 1745, the Normandie Heraldry Society contacted Sanpantul and conducted a detailed study on the history of heraldry in the Sandwich Islands; this research was compiled into a single volume titled "The Heraldic History of the Sandwich Islands". The Society subsequently designed individual coats of arms for each prefecture in Sanpantul. However, as these designs were created in haste and lacked certain essential elements, some of them violated the fundamental rules of heraldry.
In 1746 AN, the floral reproductive organs of the Aikamonshō were enlarged; this change was met with public outcry as it made the coat of arms look very ugly.
In 1757 AN, the Norman Heraldic Society designed a coat of arms for the Tonugawa Dynasty and the Sanpantul State. The Three Boats Coat of Arms inherited the colors of Sanpantul and was designed with an Apollonian-Sanpō cultural synthesis, featuring three black boats and scattered red Aikamonshōs on a yellow background. For the Tonugawa Dynasty, a coat of arms was created using three tigers and clouds called kumo on a blue background. The Norman Heraldic Society's significant design advancements were met with praise from the empire.
After Nagihito ascended the throne in 1762 AN, Aikamonshō's flower reproductive organs were restored to their original standarts.
Gallery
See also
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