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Line 36: − − <blockquote> − As a rule, foreign women were not allowed on Dejima. The only women allowed to go there were courtesans from the Maruyama brothel. Officially, the yûjo had to leave the following morning, but in practice they were permitted to stay for a week. However, by the end of the Edo period in the early nineteenth century, enforcement of the restriction had become so lax that Captains were able to take yûjo onto the streets outside Dejima, or even smuggle courtesans to Shanghai in their ships. It was not only foreigners, but also the Japanese who enjoyed the company of the yûjo when they took a trip to Nagasaki from Edo or Kyoto. Maruyama was an oasis in the desert for the Dutch and Chinese who were otherwise confined to their restricted locations. − </blockquote> − − Johnson, Hiroko. ''Western Influences on Japanese Art: The Akita Ranga Art School and Foreign Books''. Amsterdam: Hotei Publishing, 2005. p22. − − p23 for details on Dejima.
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*Heian gardens are viewed from a stationary position from within the palace, versus Zen gardens meant for contemplation – not for beauty or for poetry - , versus Edo gardens which are walking gardens, for moving through.
*Heian gardens are viewed from a stationary position from within the palace, versus Zen gardens meant for contemplation – not for beauty or for poetry - , versus Edo gardens which are walking gardens, for moving through.
*[[Genghis Khan]] was his Persian name; Crossroads & Cultures p441 gives his name as Chinggis.
*[[Genghis Khan]] was his Persian name; Crossroads & Cultures p441 gives his name as Chinggis.
