nntsuzu/KFTT huggingface dataset:
English: Since then, "Tanabata Matsuri" was acknowledged as an event of a shopping avenue which has the ability to attract more customers and has developed as one of city events at present.
Japanese: これ以降、「七夕祭り」が集客力のある商店街イベントとして認知され、現在では都市イベントとなるまで発展している。
English: Different to festivals using mikoshi (portable shrine) or dashi (float), the "Tanabata Matsuri" is an event with affinity to shopping avenues.
Japanese: 「七夕祭り」は、神輿や山車を用いる祭りと異なり、、商店街との親和性が高いイベントである。
English: The reason for the above is because once decorations were prepared on the preceding day, it can pull in shoppers on the target day without impairing the function of the shopping avenue since additional man power and strict traffic restriction is not required on the day of the festival.
Japanese: それは、飾り付けを前日までに終えれば祭り当日に人的に借り出しがなされず、商店前の通行規制も少ないため、商店街の機能を低下させることなく買物客を集められるからである。
English: Since the restoration period after the war, many shopping avenues throughout the nation, especially those in eastern Japan, have organized "Tanabata Matsuri" following the success in Sendai.
Japanese: そのため成功例の仙台七夕を模範に、戦後の復興期以降、商店街イベントとしての「七夕祭り」が東日本を中心に日本各地で開催されるようになった。
English: Among them, a combination of shopping avenue's event in the daytime and fireworks at night is often seen.
Japanese: 七夕飾りによる昼間の商店街イベントと夜の花火という組み合わせがよく見受けられる。
English: Like Matsuzaka Tanabata Matsuri started in 2001, some cities call their local events, which are not the events of shopping avenue but a combination of stage show and fireworks near the riverside, "Tanabata Matsuri".
Japanese: 2001年から始まった松坂七夕まつりのように、商店街イベントではなく、河畔で行われるステージと花火による地域イベントを「七夕祭り」とする例もある。
English: Yuzawa City, Akita Prefecture (Tanabata Edoro Matsuri [tanabata painted garden lantern festival]), a tanabata with a 300 year old tradition with its feature of displaying hundreds of garden lanterns on which Ukiyoe bijin (beautiful woman) are painted.
Japanese: 秋田県湯沢市（七夕絵どうろうまつり）浮世絵美人が描かれた数百の絵どうろうを特色とする、約300年の伝統をもつ七夕。
English: Sendai City, Miyagi Prefecture (Sendai Tanabata is one of three famous festivals in Tohoku region and the most famous Tanabata Matsuri in Japan)
Japanese: 宮城県仙台市（仙台七夕は東北三大祭りの1つで、全国的に最も有名な七夕祭である）
English: Anjo City, Aichi Prefecture (Anjo Tanabata Matsuri) Friday, Saturday and Sunday of the first week of August
Japanese: 愛知県安城市（安城七夕まつり）8月第1週末の金曜・土曜・日曜の3日間
English: Ichinomiya City, Aichi Prefecture (Orimono Kansha-sai Ichinomiya Tanabata Matsuri) for four days ending the last Sunday of July
Japanese: 愛知県一宮市（おりもの感謝祭一宮七夕まつり）7月最終日曜日を最終日とする4日間
English: It has characteristics similar to Halloween as children visit neighboring houses to ask for candles and cakes while singing "we hang tanzaku on a bamboo at Tanabata Matsuri, give us a piece of candle, not many".
Japanese: 子供たちが「竹に短冊七夕祭り、多いはいやよ、蝋燭一本頂戴な」と歌いながら蝋燭やお菓子をもらいに近くの家を訪ね歩くハロウィンのような特徴がある。
English: Takaoka City, Toyama Prefecture (Toide Tanabata Matsuri) former Toide-cho area (Toide area) July 3 to July 7
Japanese: 富山県高岡市（戸出七夕まつり）旧戸出町（戸出地区）地域　7月3日～7月7日
English: Tokushima City, Tokushima Prefecture (Tanabata Baloon Release) Shinmachibashi Higashi Park area (present central district of the city)
Japanese: 徳島県徳島市（七夕バルーンリリース）新町橋東公園（現中心市街地）地域。
English: Baloons on which wishes are written are released toward the Milky Way at 7:7:7.
Japanese: 7時7分7秒に、願い事を書いたバルーンを天の川へ向けてリリースする。
English: Varieties of events are held from traditional shinto rituals to the event of coloring the night of tanabata by lighting candles.
Japanese: 古式ゆかしい神事から、七夕の夜をろうそくの灯火で彩るイベントまで多様な内容である。
English: This is a conference in which municipalities which are organizing tanabata-related events participate for the purpose of information exchange and discussions about the problems.
Japanese: 七夕に関連したイベントを開いている自治体の代表が集まって情報交換し、課題などを討議する会。
English: From 2001, the National Astronomical Observatory of Japan started to call July 7 of the old calendar as "traditional tanabata" and announced the date of the new calendar day that coincides with it on the grounds that stars are often invisible since July 7 of the new calendar falls in the midst of the rainy season.
Japanese: 国立天文台では2001年から、「新暦7月7日はたいてい梅雨のさなかでなかなか星も見られない」という理由で、旧暦7月7日を「伝統的七夕」と呼び、その日の新暦での日付を広く報じている。
English: Being a national institute, however, the National Astronomical Observatory of Japan is not allowed to define the day of tanabata based on "the old calendar" since "the old calendar" is not officially used at present.
Japanese: ただ、「旧暦」は現在は公には使われていないのに国の機関が「旧暦」で定義することはできない。
English: Under such circumstances, it defines "the day of traditional tanabata" as the day which is the nearest to July 7 of the old calendar, "the seventh day after the day of new moon which falls on or before shosho (the moment when the ecliptic coordinates mark 150 degree) of 24 sekki (seasons) and is nearest to shosho."
Japanese: このため、「伝統的七夕」の日は、旧暦7月7日に近い日として、「24節気の処暑（しょしょ＝黄道が150度になる瞬間）を含む日かそれよりも前で、処暑に最も近い朔（さく＝新月）の瞬間を含む日から数えて7日目」と定義している。
English: Though they have not been announced by the National Astronomical Observatory of Japan, the following are the dates for the old tanabata that were obtained through calculation.
Japanese: 以下、国立天文台では未発表だが、計算により求めた旧七夕の日付は次のとおり。
English: The following chart shows the phases of the moon, their respective names and the easiness to view the Milky Way on July 7 of Gregorian calendar for the coming 10 years.
Japanese: 今後10年間の、グレゴリオ暦7月7日の月月齢と呼び名と天の川の見やすさを示す。
English: As the brightness of the Milky Way is faint, it is difficult to see it when it's disturbed by moonlight or light pollution.
Japanese: 天の川の輝きは淡いため、月明かりや光害の影響があると見ることが難しい。
English: A new moon refers to the moon when its phase is 0, a waxing moon refers to the moon when its phase is 7.5, a full moon refers to the moon when its phase is 14 and a waning moon refers to the moon when its phase is 22.5.
Japanese: 月齢は0が新月、7.5が上弦の月、14が満月、22.5が下弦の月である。
English: The Milky Way is visible for only a limited time around the time of waxing and waning moon and almost invisible around the time of the full moon.
Japanese: 上弦や下弦の前後では天の川が見える時間は限られ、満月前後ではほとんど見えなくなる。
English: Eiraku-tsuho is a coin minted during the reign of the 3rd emperor of the Ming dynasty, Yongle.
Japanese: 永楽通宝（えいらくつうほう）は、中国、明朝第3代皇帝・永楽帝の時代に作られた銭貨。
English: A huge number of the coins were imported into Japan during the Muromachi period and they were called Eiraku-sen and distributed in Japan up to the early Edo period.
Japanese: 室町時代に日本へ大量に輸入され、江戸時代初頭まで流通し、永楽銭とよばれていた。
English: The coin was round-shaped which has a square hole at the center, and on the surface were kanji characters '永樂通寳' which are read from top to bottom and right to left.
Japanese: 形状は、円形で中心部に正方形の穴が開けられ、表面には「永樂通寳」の文字が上下右左の順に刻印されている。
English: The coins were made of copper and circulated as a value of 1 mon (a unit name and value of small money at the time); however, in Japan one Eiraku-tsuho coin was valued at 4 mons of Bitasen (low quality coins with surfaces worn away) from the Tensho years.
Japanese: 材質は銅製、貨幣価値は1文として通用したが、日本では天正年間より永楽通宝1枚が鐚銭4文分と等価とされた。
English: In 1608, a ban on the circulation of Eiraku-sen was issued and Eiraku-tsuho were replaced with domestically minted coins such as Kanei-tsuho.
Japanese: 慶長13年（1608年）には通用禁止令がだされ、やがて寛永通宝等の国産の銭に取って代わられた。
English: However, the virtual monetary unit called Ei (Ei of Eiraku-tsuho) remained in place; i.e., Ikkanmon (weight of the coins and approximately equivalent to 1,000 mon of coins) of Ei equaled 1 ryo (a unit name for a large sum of money) of a gold coin, thus 1 Ei was treated as 1/1000 ryo.
Japanese: しかしその後も永という仮想通貨単位(すなわち永一貫文＝金一両であり1/1000両を表す)は残った。
English: Thus Eiraku-tsuho greatly influenced the Japanese monetary system over a long period of time (1 Ei was actually equivalent to around 4 mon).
Japanese: このように永楽通宝は、(日本の貨幣制度に)長く影響を残した（1永は4文前後）。
English: It is thought that Eiraku-tsuho was not circulated in the territory of the Ming and was mainly used overseas.
Japanese: なお、永楽通宝は明では流通しておらず、もっぱら国外で流通していたと考えられている。
English: In the Ming dynasty during the reign of the founder Emperor Kobu (Shu GENSHO), the use of metal coins was prohibited and all the money were switched to paper money (later switched again to Ginjo - silver coins used in China until early in the 20th century).
Japanese: 明では初代洪武帝のときに銭貨使用が禁じられ、すべて紙幣（後には銀錠）に切り替えられていた
English: (Emperor Kobu also issued Daichu-tsuho 'copper coins' in a part of his own territory before he unified China; after the unification, he issued Kobu-tsuho 'copper coins.')
Japanese: （洪武帝は中国統一前には支配地域の一部で大中通宝「銅銭」を発行しており、統一後も洪武通宝「銅銭」を発行していた）。
English: In the meantime, the money economy in Japan rapidly developed and the demands for Chinese coins greatly increased.
Japanese: 一方、日本では貨幣経済が急速に発展しており、中国銭貨への需要が非常に高まっていた。
English: As a result in China, Eiraku-tsuho was minted as an instrument to settle the trade with Japan.
Japanese: そのため、日本との貿易決済用銭貨として永楽通宝が鋳造されることとなったのである。
English: The reason why he used it as his symbol was not known, however, it is said that with foresight he paid attention to the monetary economy.
Japanese: 理由は明らかでないが、貨幣流通に早くから注目していたためであるとも言われる。
English: As commerce and physical distribution was activated from the Heian to the Kamakura period in Japan, the need for money became important.
Japanese: 平安時代から鎌倉時代にかけて日本国内の商業・物資流通が活発化すると共に貨幣の必要性が重用になっていった。
English: However, because the Ritsuryo system had already collapsed at the time and the technology to mint coins as well as the office in charge fell into disuse, Japan had to import copper coins from China to distribute domestically.
Japanese: しかしながらその時代には律令体制が崩壊しており、銭貨鋳造を行う役所も技術も廃れていた事から、中国から銅銭を輸入してそれを国内で流通させていた。
English: Among them, the copper coin Eiraku-tsuho (Eiraku-sen) minted from 1411 in the reign of the Ming dynasty's Emperor Yongle were imported on a massive scale in the middle of the Muromachi period.
Japanese: その中でも明の永楽帝の時代に永楽(明)9年（1411年）から作られた銅銭永楽通宝（永楽銭）が、室町時代中期に大量に輸入された。
English: While privately minted coins are called Shichusen, many shichusen minted in Jiangnan in China and Japan were also circulated.
Japanese: 民間が勝手に鋳造した銭貨を私鋳銭というが、中国江南や日本で作られた私鋳銭も多く流通していた。
English: However, these shichusen were called bitasen for their inferior quality and exchanged at a lower value than government casting Eiraku-sen.
Japanese: しかし、これらの私鋳銭は粗悪で品質も悪かったため、鐚銭（ビタ銭）と呼ばれ、官鋳の永楽銭よりも低価値で流通していた。
English: As the difference in the value of the copper coins became a problem, the sengoku daimyo (Japanese territorial lord) in the Sengoku period often issued ordinances called Erizenirei, which banned differentiating the good coins and bad coins.
Japanese: この銅銭の品質の違いによる価値のばらつきは問題になっており、戦国時代(日本)には戦国大名が良銭と悪銭の区別を禁ずる撰銭令を発出することもしばしば見られた。
English: The Edo bakufu (Japanese feudal government headed by a shogun) began casting their own copper coins (called Keicho-tsuho) in the year 1606 of the Edo period; two years later, the bakufu issued an ordinance prohibiting the distribution of Eiraku-sen.
Japanese: 江戸時代に入ると江戸幕府が慶長11年（1606年）に独自の銅銭慶長通宝を鋳造して2年後には永楽銭の流通禁止令がだされた。
English: It is said that at this stage, the amount of Keicho-tsuho circulated was not sufficient enough, and the ban resulted in prohibiting the circulation of Eiraku-sen at a superior position and promoting the use of Eiraku-sen at the same level as bitasen.
Japanese: この段階では慶長通宝の流通も充分でなく、実態は永楽銭の優位的通用を禁じ鐚銭並みの通用になったとされる。
English: After the Genna-Enbu (peace after Genna era) in 1636, the bakufu minted Kanei-tsuho (pronounced as kan-ei-tsuho) in earnest and Eiraku-sen was gradually driven out when the new coins started to circulate in the entire country in and after the Kanbun era (1661- 1672).
Japanese: 元和偃武後の寛永13年（1636年）には寛永通宝を本格的に鋳造し、寛文年間以降、全国的に流通し始めると永楽銭は次第に駆逐されていった。
English: Particularly in Kanto, Eiraku-tsuho was regarded as the key currency, and in some cases this is called Eidakasei (currency system based on Eiraku-tsuho).
Japanese: 特に関東では、永楽通宝が基準通貨と位置づけられ、これを永高制ということもある。
English: In Western Japan, people preferred using the old coins from the Tang and Northern Sung dynasties such as the Sung currency, and Eiraku-tsuho was not circulated very much until the 16th Century.
Japanese: 西国では宋銭など唐北宋時代の古銭が好まれ、16世紀に入るまであまり流通しなかった。
English: The word "ukiyo" (this life) also means "modern," and Ukiyoe refers to Fuzokuga, in which paintings depicts the manners and customs of the day.
Japanese: 「浮世」という言葉には「現代風」という意味もあり、当代の風俗を描く風俗画である。
English: while Ukiyoe is descended from Yamato-e painting (a traditional Japanese style painting of the late Heian and Kamakura periods dealing with Japanese themes), and consistent with the cultural background of the comprehensive pictorial art genre; by contrast, it depicts scenes from people's everyday life and things.
Japanese: 大和絵の流れを汲み、総合的絵画様式としての文化的背景を保つ一方で、人々の日常の生活や風物などを描いている。
English: Generally, when it comes to Ukiyoe today, one is solely reminded of the multicolor woodblock print (Nishikie [colored woodblock print]) in many cases, but original drawings (Nikuhitsu Ukiyoe [single copy paintings created by brush]) and so on are also included.
Japanese: 現在一般に浮世絵といえば、専ら多色刷りの木版画（錦絵）を想起される場合が多いが、肉筆画（肉筆浮世絵）なども含まれる。
English: An original drawing was created as a single piece of work, and drawings of prestigious Eshi painters were expensive, and also the numbers of works were limited.
Japanese: 肉筆画は一点ものであり、名のある絵師によるものは高価となり、また作品数も限られていた。
English: Contrastingly, the woodblock print benefited from the fact that as a print, the same picture could be inexpensively printed off many times, so even the general public of the Edo period was easily able to obtain such works.
Japanese: これに対して、木版画は版画であるために、同じ絵柄のものを多く刷り上げることができ安価で、江戸時代の一般大衆もたやすく求められた。
English: Picture calendars called Egoyomi, which included works with diverse ideas, such as having hidden numbers in the pictures, were produced.
Japanese: 絵暦と呼ばれるカレンダーの制作も行われ、絵の中に数字を隠すなど様々な工夫を凝らしたものが作られた。
English: Ukiyoe is, in terms of expressiveness, characterized by clear-cut design, daring patterns, shadowless expression, etc.
Japanese: はっきりした図柄と大胆な構図、影の表現を持たないこと等が表現上の特徴である。
English: There was a type in which perspective was intentionally ignored, as demonstrated in Hokusai's "Tsuri no meijin" (Master of fishing), where a figure in the distance is conversely depicted as larger.
Japanese: 遠景の人物を逆に大きく描く北斎の『釣の名人』のように、意図的に遠近をずらされたものもある。
English: There appeared Tan-e and Benie, which colored Sumizurie with red pigment; there was also Benizurie, in which adding few additional colors, such as green on Benie.
Japanese: 墨摺絵に赤い顔料で着色した丹絵（たんえ）、紅絵（べにえ）、さらに紅絵に緑色など二、三色加えた紅摺絵（べにずりえ）が登場する。
English: Immediately before the appearance of Nishikie, an extremely low-chromatic multicolor printing called Mizue emerged, in which profile lines are drawn by "Tsuyukusa" (blue Asiatic Dayflower) rather than India ink.
Japanese: 錦絵登場の直前、輪郭線すらも墨を用いず「ツユクサ」の青色としたみずえ（みずえ）と呼ばれる、極端に彩度の低い多色刷りも生まれている。
English: A form of bright multicolor printing, Azuma-nishikie (brocade picture of the East) was devised, and it brought the Ukiyoe culture into bloom.
Japanese: 鮮やかな多色刷りの東錦絵（吾妻錦絵）が編み出され、浮世絵文化が開花する。
English: Bijinga (a type of Ukiyoe portraying beautiful women), Yakushae (print of Kabuki actors), Mushae (Ukiyoe prints of warriors) and Meishoe (landscape drawings), as a result of travel boom, were developed.
Japanese: 美人画、役者絵、武者絵のほか、旅行ブームに伴い名所絵（風景画）が発達。
English: From the end of the Edo period to the Meiji period, such Ukiyoe as Yokohama-e (Yokohama pictures), Kaika-e (enlightenment pictures), Nishikie-shinbun (newspapers) and so on played an important role in introducing Western things as well as Japanese society.
Japanese: 幕末から明治にかけて、横浜絵、開化絵、錦絵新聞など、西洋の事物や日本の世情紹介に浮世絵が大きな役割を果たす。
English: Muzan-e (atrocity prints) and Senso-e (prints of war, or battle scenes), were well received, but Ukiyoe eventually began to decline, losing ground to other media such as newspapers, photographs, etc.
Japanese: 戦乱を反映した無残絵、戦争絵も歓迎されたが、やがて浮世絵は、新聞、写真など他のメディアに押されて衰退していく。
English: Eshi painters changed careers and became illustrators and Japanese-style painters, and the tradition of Ukiyoe came down to other genres.
Japanese: 絵師は挿絵画家や日本画家に転じ、浮世絵の伝統は他のジャンルへと受け継がれていった。
English: After the mid-17th century, a person who made original drawings for woodblock prints was called Hanshita-eshi (professional draftsman), then Moronobu HISHIKAWA, who drew illustrations for picture books and Ukiyo-zoshi (popular stories of everyday life in the Edo period), made his appearance.
Japanese: 17世紀半ば以降、木版画の原図を描く者を版下絵師といい、その中で絵本や浮世草子に挿絵を描いた菱川師宣が登場する。
English: Saikaku's "Koshoku ichidai otoko (Life of a Amorous Man)" (published in 1682) describes that Ukiyoe was drawn on a folding fan with 12 ribs, and this is the oldest literature in which the word "Ukiyoe" can be found.
Japanese: 西鶴の『好色一代男』（1682年刊）には、12本骨の扇子に浮世絵が描かれていたとあり、これが浮世絵という言葉の確認出来る最古の文献である。
English: These were colored mainly with red pigments, but one with tan (red earth) being used was called Tan-e and the one with beni (rouge) used was called Benie.
Japanese: これらは主に赤い顔料を使い着色され、丹を使ったものを丹絵（たんえ）、紅を使ったものを紅絵（べにえ）と呼んだ。
English: Since that time, the Torii school of Ukiyoe has closely been associated with Kabuki (traditional drama performed by male actors) and works on Kabuki billboards even today.
Japanese: この当時から鳥居派は歌舞伎と強く結びつき、現代でも歌舞伎の看板を手がけている。
English: In 1765, Egoyomi (picture calendars) became fashionable, especially among Haiku poets, and Egoyomi exchange parties started to be organized.
Japanese: 1765年（明和2年）に江戸の俳人を中心に絵暦が流行し、絵暦交換会が開かれるようになった。
English: To meet the demand, Harunobu SUZUKI and others worked out Azuma-nishikie printed in multiple colors, and the Ukiyoe culture came into full bloom.
Japanese: その需要に伴い鈴木春信らが多色刷りによる東錦絵（吾妻錦絵）を編み出したことで、浮世絵文化は本格的開花期を迎えた。
English: As to the factors by which multicolor printing was made possible, it is pointed out that "Kento" (guide marks) were introduced to mark the points for overprinting, and that strong, high-quality Japanese papers that withstood multiple-color printing became available.
Japanese: 多色刷りが可能になった背景には、重ね刷りの際の目印となるよう「見当」が工夫されたこと、複数回の刷りに耐えられる丈夫で高品質な和紙が普及したことが挙げられる。
English: Also, the economic development took an important role, as the division of labor was established for the complicated processes among Shitaeshi, Horishi and Surishi.
Japanese: また、経済の発展により下絵師、彫師、刷師と複雑な工程の分業体制を整えることができた点も重要である。
English: After Harunobu SUZUKI's death, Bijinga began to change from androgynous, doll-like patterns to realistic ones.
Japanese: 鈴木春信の死後、美人画は中性的・人形的な絵柄から写実的なものへと変化していった。
English: Realistic delineation was also added to Yakushae, and bromide-like Nigaoe (portraits) were drawn by Shunsho KATSUKAWA.
Japanese: 役者絵にも写実さが加わり勝川春章によってブロマイド的な似顔絵が描かれた。
English: Furthermore, Utamaro KITAGAWA made his appearance and drew many Okubie ("large-head" pictures), which was a type of Bijinga with a delicate, elegant, gracious touch.
Japanese: さらに喜多川歌麿が登場し、繊細で上品で優雅なタッチで、美人画の大首絵を数多く手がけた。
English: In 1795, a Hanmoto (publisher) called Juzaburo TSUTAYA, whose assets had been confiscated due to his breaking a ban, introduced Sharaku TOSHUSAI as a revival measure.
Japanese: 寛政7年、禁令のため財産を没収された版元蔦屋重三郎が起死回生を狙い、東洲斎写楽が売り出される。
English: Though he attracted public attention with his uniquely exaggerated Yakushae, his popularity made a poor showing due to the excessive exaggeration of features, and he was defeated by "Yakusha butai no sugatae" (likenesses of actors on the stage) by Toyokuni UTAGAWA, which were overwhelmingly popular.
Japanese: 独特の誇張された役者絵によって話題を呼ぶが、特徴を誇張しすぎ、人気が振るわなかったことと、歌川豊国『役者舞台姿絵』の絶大な人気に敗退した。
English: Afterward, the largest school of Ukiyoe Eshi painters, the Utagawa school, consisting of Toyokuni's disciples began to take shape.
Japanese: その後、豊国の弟子たちからなる浮世絵絵師最大派閥である歌川派が形成されていった。
English: After Utamaro KITAGAWA's death, the mainstream of Bijinga turned toward sensual, sexy beauty and loveliness such as Eisen KEISAI drew.
Japanese: 喜多川歌麿の死後、美人画の主流は渓斎英泉が描くような官能的な色っぽい美人や可愛げに移っていく。
English: Hokusai KATSUSHIKA, one of Shunsho KATSUKAWA's disciples, along with the travel boom, drew the "Fugaku sanju rokkei (Thirty-Six Views of Mount Fuji)," which triggered the publication of the "Tokaido Gojusan-tsugi (The Fifty-Three Stations of the Tokaido Road)," by Hiroshige UTAGAWA.
Japanese: 勝川春章の門人、葛飾北斎は旅行ブームに伴い『富嶽三十六景』を手がけ、それが元で歌川広重によって『東海道五十三次』が刊行された。
English: In the category of Yakushae, Kunisada UTAGAWA, as the successor to his teacher Toyokuni UTAGAWA, drew strong Yakushae.
Japanese: 役者絵では歌川国貞が師匠歌川豊国の流れを受け継いで、力強い役者絵を手がけた。
English: In Kusazoshi, Mushae, along with the boom in fantastical tales, came to be drawn by Kuniyoshi UTAGAWA and others.
Japanese: また、草双紙で伝奇ブームに伴い、歌川国芳などによって武者絵が描かれるようになる。
English: The "Suikoden" (The Water Margin) series of Kuniyoshi UTAGAWA gained popularity at that time, and the "Suikoden boom" took place.
Japanese: 歌川国芳の『水滸伝』シリーズは当時人気を博し、浮世絵「水滸伝ブームがおこる。
English: "Edo sunako saisenki" published in 1853 described "Toyokuni Nigao (Nigaoe), Kuniyoshi Musha (Mushae) and Hiroshige Meisho (Meishoe)."
Japanese: 嘉永6年刊行の『江戸寿那古細見記』に「豊国にがほ（似顔絵）、国芳むしや（武者絵）、広重めいしよ（名所絵）」と書かれた。
English: While in Japan which was domestically disrupted by the Meiji Restoration, grotesque things appeared in Kabuki and other shows, Yoshiiku OCHIAI and Yoshitoshi TSUKIOKA, who were disciples of Kuniyoshi UTAGAWA, drew "Eimei nijuhachishuku," which depicted bloody scenes and were called Muzan-e, as well as illustrations for articles in Nishikie-shinbun.
Japanese: 明治維新によって混乱した国内で歌舞伎や見世物でグロテスクなものが登場し歌川国芳の門人落合芳幾と月岡芳年によって血みどろで無残絵と呼ばれる種類の『英名二十八衆句』や、新聞記事を題材とした錦絵新聞を描いている。
English: Yoshitoshi TSUKIOKA, with his delicate, sketching-oriented patterns, drew not only Muzan-e but also many Rekishiga (historical paintings) and Fuzokuga, and came to be called "The last Ukiyoe artist."
Japanese: 月岡芳年は繊細で写生を重視した絵柄で無惨絵ばかりでなく数多くの歴史画、風俗画をてがけ、「最後の浮世絵師」と呼ばれるようになる。
English: As he positively encouraged his disciples to learn about other categories of the pictorial art, many disciples achieved greatness as illustrators and Japanese-style painters, such as Kiyokata KABURAKI; thus the tradition of Ukiyoe came down to other genres.
Japanese: また、弟子には積極的に浮世絵以外の絵を学ばせたため、鏑木清方のように多くの門流が挿絵画家や、日本画家として大成し、浮世絵の伝統は他のジャンルへと受け継がれていった。
English: Yoshifuji UTAGAWA applied Ukiyoe on Omochae, which is now called paper appendices, and, due to the popularity of the idea, played an active role as an Eshi painter specializing in Omochae.
Japanese: 歌川芳藤は子供のための玩具絵と呼ばれる、今で言う紙でできた付録のようなものを浮世絵で手がけ、その工夫がうけて玩具絵専用絵師として活躍した。
English: Ukiyoe gradually declined, losing ground to newspapers, photographs, new technologies such as lithographs, etc.
Japanese: 次第に、浮世絵は新聞や写真、石版画などの新技術に押されて衰退していく。
English: Ukiyoe artists exercised their ingenuity against photographs, mostly in vain, and were forced to become illustrators and so on.
Japanese: 浮世絵師は写真に対抗し、工夫したが多くのものが失敗し、挿絵画家などへの転向を余儀なくされた。
English: The history of Ukiyoe, which was handed down from the Edo period, nearly ended with the Sensou-e depicting the Sino-Japanese War as the last one.
Japanese: 江戸時代からずっと続いた浮世絵の歴史は、日清の戦争絵を最後としてほぼ終焉を迎える。
English: From the Taisho period to the Showa period, Hasui KAWASE and others intended to restore Ukiyoe with new woodblock prints, and left behind many works that utilized the woodblock multicolor printing technique of Ukiyoe.
Japanese: 大正から昭和にかけて、川瀬巴水らは浮世絵の復興を目する新版画として、浮世絵の木版多色刷り技法を活かした作品を多数残している。
English: Jihon toiya, publishers and sellers that dealt with entertaining publications, became publishers of Ukiyoe.
Japanese: 娯楽出版物を扱う地本問屋（じほんといや）が浮世絵の版元となっている。
English: At that time, townspeople weren't permitted to adopt surnames and wear swords; thus, TSURUYA and so on weren't surnames but Yago (the name of the store).
Japanese: 当時、町人は苗字帯刀が許されておらず、鶴屋などは屋号で、苗字ではない。
English: However, even after caricatures and Yakushae were banned, it published Yakushae as "scribbling."
Japanese: それにもかかわらず、風刺画や役者絵禁止令が出された後にも「落書き」と称して役者絵を出版している。
English: It dealt with many Uchiwae (pictures on fans), currently it runs a fan, folding fan and calendar business in Nihonbashi (Chuo Ward Tokyo) and has branch stores at Isetan Shinjuku Store, Nihonbashi MITSUKOSHI, GINZA ITO-YA and so on.
Japanese: 団扇絵を多く手掛け、現在は日本橋(東京都中央区)で団扇、扇子、カレンダー業を営み、新宿伊勢丹、日本橋三越、銀座伊東屋などに出店している。
English: Traditional themes, which were to be materials for Chinese paintings and Yamato-e paintings, were sometimes transformed for Ukiyoe.
Japanese: 中国画や大和絵の題材になる伝統的な主題を浮世絵風に転化することもあった。
English: Because their selling prices were high, much money was allowed to be used for production and high-level production techniques were employed.
Japanese: 販売価格が高かったため、製作費を多くかけることができ、技術的にも高度なものが作られた。