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*Edo period succession ceremonies (or, at least, that in 1710) were very Chinese in their flavor 中国の模倣の色が濃い, unlike the invented Shinto-based ceremonies performed today since the Meiji period. - Watanabe Hiroshi 渡辺浩, “’Rei’ ‘Gobui’ ‘Miyabi’ – Tokugawa Seiken no girei to jugaku” 「『礼』『御武威』『雅び』－徳川政権の儀礼と儒学－」 in 国際研究集会報告書 vol 22, 公家と武家――その比較文明史的研究――, 国際日本文化研究センター (2004), 171.
*Edo period succession ceremonies (or, at least, that in 1710) were very Chinese in their flavor 中国の模倣の色が濃い, unlike the invented Shinto-based ceremonies performed today since the Meiji period. - Watanabe Hiroshi 渡辺浩, “’Rei’ ‘Gobui’ ‘Miyabi’ – Tokugawa Seiken no girei to jugaku” 「『礼』『御武威』『雅び』－徳川政権の儀礼と儒学－」 in 国際研究集会報告書 vol 22, 公家と武家――その比較文明史的研究――, 国際日本文化研究センター (2004), 171.
*Paper was likely introduced to Japan around the 4th century, along with writing, though the earliest record about paper in Japan is from the Nihon shoki, dating it to around 610 CE. Perhaps because of its associations with sutras, paper was believed to have divine properties that attracted ''kami'' and created purification, and it was believed that these properties were enhanced by folding the paper. - Martha Chaiklin, “The Material Culture of Gift Giving in Japan,” TAASA Review: The Journal of the Asian Arts Society of Australia 27:3 (2018), 19.
Offerings made to the kami or to members of the Imperial family are always presented uncovered, because (at least in the case of the kami) of associations with communal feasting. Gifts, and Shinto offerings especially, have long been presented in Japanese customs atop wooden stands that elevate the gift off the ground, thus separating it from impurity. Though in the Heian period circular lacquered stands were common, by the Edo period square or rectangular stands made of unlacquered, unpainted cypress were standard. The holes in the front and sides of these stands are called sanbô. - Martha Chaiklin, “The Material Culture of Gift Giving in Japan,” TAASA Review: The Journal of the Asian Arts Society of Australia 27:3 (2018), 18.
*On translation: the 1871 publication of Lord Mitford's ''Tales of Old Japan'' (the first English-language translation of Japanese literature to be widely commercially circulated) represents a shift in how Western newspapers etc. talk about Japanese books - from talking about their illegibility and focusing on the pictures, to now seeing the stories and the language as quaint, exotic, and curious. The illegibility was somehow ominous, threatening, but now that there were experts who could translate, that threat was gone.
*On translation: the 1871 publication of Lord Mitford's ''Tales of Old Japan'' (the first English-language translation of Japanese literature to be widely commercially circulated) represents a shift in how Western newspapers etc. talk about Japanese books - from talking about their illegibility and focusing on the pictures, to now seeing the stories and the language as quaint, exotic, and curious. The illegibility was somehow ominous, threatening, but now that there were experts who could translate, that threat was gone.
