Greeting cards arose in Europe in the 13th century, from printed New Year’s Day greetings made by Germans on handmade paper. At the time, this would have been a rare and expensive gift. However, improvements in printing and paper-making technology in the 19th century, allowed the greeting card to become a common form of personal communication throughout the world.

For Americans, the meaning of greeting cards has expanded gradually over time. Most likely with roots in communication during the major wars of the 20th century, greeting cards became a way an important way to stay in touch with troops stationed away from home.

Today the greeting card is viewed as an important way to stay in contact with friends and family. Attached to a gift, the greeting card is often seen as more sentimental and personalized than simply sending a gift alone.

Adapted from the American Association of Greeting Cards

Today the yukata is appropriate for a variety of occasions, from daily errands to casual eveningwear. Unlike the kimono, the yukata can be worn with or without the traditional sash obi. When worn with the obi, it is seen as more formal.

Yukata are traditionally worn during Bon Odori or the Bon Festival in the summer. The festival celebrates the spirits of ancestors and is believed to have its roots in Buddhism.

Adapted from the Kodansha Encyclopedia of Japan

Hinamatsuri: These kimono are supposed to only be worn by dolls to celebrate happiness in childhood.

Furisode: This is the most formal kimono that can be worn by an unmarried women and young girls. They are marked by the colorful patterns all over the garment, and worn by unmarried female relatives during weddings and girls for coming of age rites.

Furisode uchikake: A special unbelted kimono worn specifically by the bride during wedding ceremonies. It is usually white, symbolic of purity.

Kuro tomesdoe: A black platterned kimono which is the most formal kimono for married women. During a wedding it is usually worn by the mother of the bride or groom.

Iso tomesdoe: Less formal than the kuro tomesode, this colored and patterned kimono is only worn by married women as well, usually the married female relatives of the bride during a wedding ceremony.

Homongi: This is translated to “visiting wear” and is worn to formal events, and by non-related guests during a wedding.

Adapted from the Victoria and Albert Museum and the Museum of Anthropology at the University of British Columbia

Kimonos are often seen as a symbol of traditional Japanese culture. Traditionally, only the elite wore the kimono regularly, the majority of people would only have worn the garment on special occasions. And even today, the kimono is still worn on special occasions.

Kimonos are worn with the left side wrapped over the right and secured with a sash called an obi. The wrap style allows for ease of movement, particularly in a culture where many activities are performed while seated on the floor.

The pattern on the fabric of the kimono is significant for its cultural meanings. Indications of social status, marital status, personal identity and age are expressed through color and decoration. Accessories such as combs and pins worn in the hair, are also important towards indicating status.

Adapted from the Victoria and Albert Museum and the Museum of Anthropology at the University of British Columbia

Lacquer is derived from the aged sap of the lacquer or urushi tree, and has been called one of the first paints and glues. When applied in thin coatings, it hardens and is able to repel water and resist other abrasives. Lacquer contains urushiol, the irritant in poison ivy, which is also responsible for lacquer’s material properties.

Lacquer appeared in a variety settings such as the decoration inside of shrines, furniture, chests, doors, eating vessels, utensils, and lamps. Different regions of Japan each have their own distinctive lacquerware. Common motifs include cherry blossoms, which symbolize beauty and the transient nature of life, and bamboo, which represents strength of character.

Europeans admired and coveted Oriental lacquerware. Like fine porcelain, they tried imitate it, but were initially unsuccessful. As a result, tremendous advances were eventually made in Europe in the development in glossy varnishes.

Adapted from the Japan Traditional Craft Center and from the St. Olaf College Yoshida and Friends Exhibition