The family emblem also reflects the Japanese love for nature. Unlike Europe, which advocates lions, eagles and other beasts of prey, and likes to use the patterns of these animals to make badges to show strength and majesty, in Japan, the patterns of family emblems are mostly gentle and elegant. For example, the 16-petal chrysanthemum pattern of the Japanese royal family emblem, the three-leaf sunflower pattern of the Tokugawa family and the "double-feather bamboo" pattern of the Ida family. Among other factors, the most important thing in choosing these plants and birds as patterns is the love of nature. Yoshino's cherry blossom pattern is used because Yoshino's cherry blossoms are very famous. The plum blossom pattern of Sugawara's family has a lot to do with his liking for plum blossoms. Japanese people pay attention to nature with affinity and think that nature is the mother and source of life. The love for nature has brought about the integration of life and nature, and produced a family emblem to express their life concept. It can be said that the fusion of affinity and nature and the birth of nature have become one of the symbols of Japanese beauty consciousness. The design of Japanese family emblem is not complicated but concise, and the color is not warm but peaceful, which fully embodies the simple and slender national style bred by the harmony between Japanese and nature.
From the family emblem, we can see the Japanese belief and acceptance of foreign things. Many family emblems in the Wu family era are related to the "god tattoo" of the shrine, which reflects the strong desire of the gods to give shelter during the war. For example, the rice grain of Millian God, the deer of Spring Club, the pigeon of Baban Palace, and the fox of Millian. It is regarded as the messenger of God, and the grass used by God, such as leaves and cypress leaves, also appears as patterns in some family emblems. Buddhists and implements often appear on family emblems in the form of patterns. Such as a wheel treasure, a star and a swastika (the pattern on the Buddha's chest symbolizes good luck and complete merit). China's gossip, quotations and Shou Ziwen are also reflected in the family emblem. For example, two quotations from General Ashikaga, three quotations from San Pu and two other quotations. Moreover, there are many auspicious patterns in the design of Japanese family emblems, such as "snail" (conch), "rain" (a kind of dragon), "bat", "Tang people's hat" (a hat with a central protrusion and a red cloth wrapped at the top) and "dividing copper" (weight). It can be said that Japan's acceptance of foreign things is also fully reflected in the family emblem.
The family emblem also reflects the Japanese's emphasis on "home" and their group psychology. The word "coat of arms" in Japanese refers to the family emblem in a narrow sense. Japanese badges appear in the form of family badges, which are connected with the concept of "home", and are subtly different from those of some European and American countries, which are only fixed as symbolic goods. As a symbol of the family, the family emblem is the product of Japanese traditional culture, reflecting the cultural psychology and way of doing things of the Japanese nation, because the family consciousness has a deep-rooted position in the Japanese spiritual structure. Many family emblems are related to Japanese surnames. For example, the pattern of torii is "torii", that of Kato is "Fujimaru with characters", that of Xiao Ye and Okubo is "Damen Temple", and that of Kimura, Tian Mu and Zongnei is "Muzi". After the Meiji Restoration, it seems that the flaunting of family reputation implied in the family emblem has been completely lost, and it has become a routine usage in dresses. As a result, a lot of heraldry and heraldry similar to the function of family emblem appeared, not aimed at home. Such as various commemorative medals, trademarks of companies and groups, city signs and so on. There is no doubt that the long-standing tradition of family emblem design, that is, the influence of pattern and composition on modern heraldic design.