nntsuzu/KFTT huggingface dataset:
English: The only difference is that only usucha (thin tea) is used in the 'wabichaho' and only koicha (thick tea) is used in the 'shikitenchaho.'
Japanese: ただ違う点は「侘び」では薄茶のみであり、「式典」では濃茶のみである。
English: In this point, there seem to be an intention that 'furyu (elegant aestheticism) was to choose utensils in concert with beautiful flowers, not to arrange flowers in concert with a variety of tea party.'
Japanese: この点においては「茶会の趣向に花を合わせるのではなく、美しいと感じた花に道具を合わせてこそ風流」という意図があるようだ。
English: As above, this school adopts an ancient and unique style as its substance, and is senseless as compared with other schools.
Japanese: と、その内容は古式と独自のスタイルと、他流派から見れば非常識ばった流派である。
English: Its shape is the same to that of kaku-obi (a stiff sash for men), but its distinctiveness lies in its use of softer fabric (cotton is used most of the time) and its narrow and short tailoring.
Japanese: 形状は角帯のそれに倣うが、やわらかい生地（木綿などが多い）を用いて、幅細に、短く仕立てている点に特色がある。
English: Since there is only a length of sanjaku, it is tied once around the waist in a tight knot unlike kaku-obi which is tied turning at one end of the obi.
Japanese: 長さが三尺しかないために、通常の角帯のように手に折り返しをつくらず、一重に締め、駒結びなどで結ぶ。
English: It is an obi for everyday-wear that is made to have less burden on one's body, by making the parts have minimum contact to the body, and it is from this that the word 'sanjaku obi' is used to describe the nature of a spirited person or a gallant man.
Japanese: 体に触れる部分を最小限にし、しめつけを少なくすることで、体への負担を少なくした普段着の帯であり、そこから伝法者や勇み肌の性質をあらわすのに「三尺帯」という言葉が用いられることもある。
English: There are instances where children's hekoobi or hekoobi (soft waistband for men) itself is confused with sanjaku obi, but they are essentially different.
Japanese: なお、子供用の兵児帯や、兵児帯そのものと混同されることがあるが、元来は別な帯である。
English: Tobiroppo refers to a performing technique in Kabuki (traditional drama performed by male actors) to raise the excitement by taking big sideways jumps when an actor exits the stage.
Japanese: 跳び六方（とびろっぽう）とは、歌舞伎において役者の舞台からの退場時、大きく横とびをして、感動を高める演技技法である。
English: This part is the last highlight of Kanjincho, and also the most exciting part.
Japanese: ここがこの勧進帳の最後の見所となり、また、一番盛り上がるところになる。
English: Fumai-ryu school is one of tea ceremony schools which was founded by Fumai MATSUDAIRA and was handed down within the Matsue Domain.
Japanese: 不昧流（ふまいりゅう）は、松平不昧に始まり松江藩で伝わった茶道の一派。
English: It was originally known as Unshu-ryu school, but, is called Fumai-ryu school or Fumai-ha group of Sekishu-ryu school in the present-day organization of the transmission.
Japanese: 元来は雲州流として知られていたが、現在の伝承組織では不昧流あるいは石州流不昧派と称している。
English: Fumai who devoted himself to the tea ceremony at the Edo residence before becoming a lord of the domain learned the Ikei-ha group of Sekishu-ryu school from the third Kotaku ISA, and also learned from Issho ARAI of Ichio-ryu school.
Japanese: 藩主となる以前から江戸屋敷で茶道に励み、3代伊佐幸琢から石州流怡渓派を学んでいたが、また一尾流の荒井一掌にも学んでいる。
English: After being certified as full proficiency of Ikei-ha group of Sekishu-ryu school in 1771, he attained his own style of tea ceremony using examples from various schools, and issued an order to revise chaji (tea ceremony) in 1802.
Japanese: 明和8年（1771年）石州流怡渓派の皆伝を受けた後に、様々な流派を参考にして独自の茶風に達し、享和2年（1802年）に茶事改正の達しを出している。
English: He considered that it was just a private thing, and said that 'my style should not have been established' ("Chaso" [a tea book written by Fumai MATSUDAIRA]) when he was young.
Japanese: これはあくまで個人のこととし、若い時分には「我が流儀立つるべからず」（『茶礎』）とも述べている。
English: Kazumichi ARISAWA who was a chief retainer of Matsue Domain and was much trusted by Fumai often gave and received correspondences about tea ceremony.
Japanese: 有沢弌通は松江藩家老で不昧の信頼が厚く、たびたび茶道に関する手紙をやりとりしている。
English: After teaching the Japanese tea ceremony to Kazumichi ARISAWA's heir, Kazuyoshi ARISAWA, Fumai ordered to establish Meimeian tea hut in the Arisawa's main residence and later Kandenan tea hut in his villa.
Japanese: その継嗣である有沢弌善には茶道を伝授した上に、本邸内には明々庵、後に別荘には菅田庵を指図している。
English: On the other hand, Choko FUJII (also known as Soyo) spread Fumaiko goryugi among feudal retainer of the domain, as sado (a person in charge of the tea ceremony) in the Matsue Domain.
Japanese: 一方、藤井長古（宗与）は松江藩茶堂として不昧公御流儀を藩士に広めた。
English: From disciples of the second Choko FUJII (also known as Soko), Zenchi AJIKI (安喰善知) and Kyuho TAMEISHI (為石九方) served as sado.
Japanese: 2代目藤井長古（宗古）の弟子で茶堂を務めたものに、安喰善知と為石九方がある。
English: A disciple of Zenchi AJIKI, Naoyoshi MATSUDAIRA, who was a son of Naotoshi MATSUDAIRA of the 10th lord of the Mori Domain, a branch domain of Matsue Domain, and received the rank of viscount, spread Unshu-ryu school in the Kanto region by giving instructions on tea ceremony at the Gakushuin School Corporation and to the Imperial family.
Japanese: 安喰善知の門人には、松江藩の支藩である母里藩10代藩主松平直哉の子で子爵となった松平直敬があり、学習院や皇室で茶の湯の指導にあたるなどして関東地方に雲州流を広めた。
English: The genealogy of Kyuho TAMEISHI was handed down to the public in Matsue, and is called Fumai-ryu school Daien-kai.
Japanese: また為石九方の系譜は松江で一般に伝えられて、不昧流大円会と称している。
English: The school is presently based in Kamakura, Kanagawa Prefecture and incorporated as Sado Sohenryu Fushinan.
Japanese: 現在家元は神奈川県鎌倉市にあり、財団法人として茶道宗徧流不審庵がある。
English: Sohen YAMADA (whose real family name was Nishina) was the 5th abbot of Chotoku-ji Temple, which was opened by Shuzen (Moritoshi NISHINA), who had served Shonyo, the 10th abbot of Hongan-ji Temple.
Japanese: 山田宗偏は、本願寺第10世証如に仕えた周善（仁科盛俊）が開いた長徳寺の第5世にあたり、本姓は仁科氏である。
English: He was to carry on from his father at Chotoku-ji Temple and was given the Buddhist name Shukakusoen but, preferring the tea ceremony, he left Chotoku-ji Temple and took his mother's last name Yamada.
Japanese: 父より長徳寺を受け継ぎ周覚宗円と号したが、茶道を好み長徳寺を辞して母方の姓の山田を名乗った。
English: In 1652 he received instruction under Sen no Sotan and built a retreat at Sanpo-ji Temple in Narutaki village of Rakuhoku.
Japanese: 承保元年（1652年）に千宗旦のもとで皆伝を得て、洛北鳴滝村三宝寺に庵を結んだ。
English: After being given the yohogama (square kettle) from Sotan, he received funding for the yohoan (square hermitage) from Suigan, the abbot of Daitoku-ji Temple.
Japanese: このとき宗旦から贈られた四方釜にちなんで、大徳寺の翠厳から四方庵の額を受けている。
English: In 1655, at Sotan's recommendation, Sohen YAMADA went to serve Tadatomo OGASAWARA of the Mikawa Yoshida Domain in Mikawa Province and Sotan allowed him to use the names Fushinan, which had been handed down since Rikyu's time, and Konnichian, the name of Sotan's tea house built for his retirement.
Japanese: 明暦元年（1655年）宗旦の推挙で三河国三河吉田藩の小笠原忠知に仕えた折りに、宗旦は利休以来の不審庵、自らの隠居の今日庵の庵号を用いることを許している。
English: He served four heads of the Ogasawara family until 1697, when he resigned following Nagashige OGASAWARA transfer to Iwatsuki Domain in Musashi Province and moved to Honjo (present-day Sumida Ward) on the outskirts of Edo, building a tearoom and a large following of pupils.
Japanese: その後元禄10年（1697年）小笠原長重が武蔵国岩槻藩に転封となるまで4代にわたって仕え、職を辞して江戸郊外の本所(墨田区)に茶室を構えて多くの門人を集めた。
English: Amongst his pupils, Sohen allowed Soitsu TORII, a wealthy merchant, to use the name Konnichian and Sadazane SUGANUMA, the lord of Shinjo Domain in Mikawa Province, to use the name Yohoan, while he himself used Fushinan.
Japanese: 中でも豪商の鳥居宗逸には今日庵、三河新城藩主の菅沼定実には四方庵の庵号を譲り、自らは不審庵を称した。
English: However, tearooms were built not only in the territory of the Ogasawara family but, also near the villas used by the Ogasawara family when staying in Edo.
Japanese: ところが、小笠原家領地だけでなく江戸下屋敷の近くにも茶室を構えていた。
English: The 8th generation master, Soyu YAMADA, otherwise known as entrepreneur Torajiro YAMADA, was known in particular for his interaction with Turkey.
Japanese: 8世山田宗有は実業家山田寅次郎として、特にトルコとの交流で知られている。
English: In 1890, the Ottoman battleship Ertugrul Firkateyni foundered off the Kii Peninsula and was shipwrecked whilst returning to home from a visit to Japan.
Japanese: 明治23年（1890年）、日本よりの帰途にあった親善使節を乗せたオスマン帝国軍艦エルトゥールル号遭難事件が紀伊半島沖で難破沈没した。
English: Torajiro YAMADA took up a collection of funds for the bereaved and, at the behest of Foreign Minister Shuzo AOKI proceeded to Turkey where he was requested to stay on by Sultan Abdul Hamid II.
Japanese: 山田寅次郎は遺族に贈る義捐金を集め、青木周蔵外相の意によりトルコに赴き、皇帝アブデュルハミト2世の求めに応じて滞在を続けた。
English: Even after returning home temporarily, he opened the Nakamura shoten (store) in Istanbul and traveled between Japan and Turkey for 18 years.
Japanese: 一時帰国の後もイスタンブルに中村商店を開いて18年間に渡って日本とトルコの間を行き来している。
English: During his sojourn in Turkey he contributed to commerce and cultural exchange and besides introducing the Turkish royal court to the Japanese tea ceremony, there is anecdotal evidence that, during the Russo-Japanese War, he telegraphed Japan the movements of Russian battleships in the Bosporus Sea.
Japanese: 滞在中は通商や文化交流に貢献し宮廷で茶の湯を披露するなどのほか、日露戦争に際してロシア軍艦のボスポラス海峡通過を日本に打電するという逸事がある。
English: However, after the death of the 7th master, Soju, the Sohenryu school had been without a head for 40 years.
Japanese: ただし7世宗寿没後40年間の期間、宗徧流は家元不在となったままであった。
English: With his eventual accession as the 8th master in 1923, besides managing Mishima Paper Co., Ltd., he assisted in promoting the Sohenryu school of tea ceremony.
Japanese: 大正12年（1923年）にようやく8世を継承すると、三島製紙の経営のかたわら宗徧流の振興に尽力した。
English: The group has the lineage of Hatamoto (direct retainer of the shogun), since Sadanobu KATAGIRI (Tsuruchiyo in childhood) who was the oldest son of Sadamasa KATAGIRI, the founder of the school, was appointed to Hatamoto of 1,000 koku (approximately 180 thousand liters of crop yield) and called himself Nobutaka SHIMOJO, and had been inherited to the seventh head, Soen KATAGIRI, from father to only one child.
Japanese: 流祖片桐貞昌（貞昌）の長男片桐貞信（幼名鶴千代）が1000石の旗本に取り立てられ、下條を称し名を下條信隆にあらためておこした旗本の家系で七世片桐宗猿まで一子相伝で伝承される。
English: It had been called just Sekishu-ryu school until the early Showa period, but to distinguish itself from other schools of Sekishu-ryu school, it took its name from the title of Nobukata in the seventh head, Soen, and changed its name to Sekishu-ryu chado Soen kei (Japanese tea ceremony Soen-kei group of Sekishu-ryu school).
Japanese: 昭和初期までただ石州流と称していたが、石州系他派と区別するため七世の信方の茶号宗猿より流派名をとり石州流茶道宗猿系（せきしゅうりゅうちゃどうそうえんけい）と称している。
English: Mitsugoro BANDO VII (September 21, 1882 - November 4, 1961) was a Japanese kabuki actor.
Japanese: 七代目坂東三津五郎（しちだいめ　ばんどう　みつごろう、1882年（明治15年）9月21日-1961年（昭和36年）11月4日）は、歌舞伎役者。
English: He was born Jusaku MORITA, his acting house name was Yamatoya (kabuki) and his alternate crest was the mitsudai.
Japanese: 本名は守田壽作（もりたじゅさく）、屋号は大和屋(歌舞伎)、定紋は三ツ大。
English: He made his debut under the name Yasosuke BANDO II in October 1889 as Tsuruchiyo in the Kiri-za Theater production of "Date Kurabe Okuni Kabuki."
Japanese: 明治22年(1889)10月、桐座『伊達競阿國歌舞伎』の鶴千代で二代目坂東八十助を襲名して初舞台。
English: In April 1906, he appeared as Kengoro in "Mekuranagaya Umega Kagatobi" ("Kagatobi") at the Kabuki-za Theater under the name Mitsugoro BANDO VII.
Japanese: 明治39年(1906)4月歌舞伎座『盲長屋梅加賀鳶』（加賀鳶）の兼五郎で七代目坂東三津五郎を襲名する。
English: He went on to work prolifically alongside Kikugoro ONOE VI and Kichiemon NAKAMURA I.
Japanese: その後尾上菊五郎(6代目)、中村吉右衛門(初代)などの相方を多く勤めた。
English: In September 1957, he collapsed on stage at the Kabuki-za Theater during a performance of "Kanzan Jittoku"; this would prove to be his last performance before his death four years later.
Japanese: 昭和32年(1957)9月、歌舞伎座『寒山拾得』の舞台で倒れ、これが最後の舞台となって4年後に死去。
English: In 1960, the year before his death, he was designated a Person of Cultural Merit and a Living National Treasure.
Japanese: 死の前年の昭和35年(1960)には文化功労者および人間国宝にも認定されている。
English: His small frame and high-pitched voice were weaknesses, but due to his great talent he is considered to have been a master of all that he undertook; in fact, he is referred to as 'Mataichiro HAYASHI II of the west and Mitsugoro BANDO of the east.'
Japanese: 実力がありながら小柄な身体と甲高い声が欠点だったが、所作事にかけては名人と呼ばれ、「西の林又一郎、東の坂東三津五郎」と並び称された。
English: During his youth, he studied the works of his predecessors and trained directly under the Meiji-period master Shikan NAKAMURA IV; in adulthood he possessed outstanding knowledge and buyo (Japanese traditional dance) skills, which he had cultivated through years of devotion and training.
Japanese: 若いころに先人たちの舞台を研究したり、明治の名人中村芝翫(4代目)に直接仕込まれたりしたこともあり、長年の精進と鍛錬に培われた舞踊の技術と知識はずば抜けていた。
English: He was therefore cast in many relatively small roles, but despite this he gave excellent performances as Tokimune SOGA in "Ya no Ne," Sawaichi in "Tsubosaka Reigenki," Oshi Modoshi in "Musume Dojoji" and Matahei in "Keisei Hangonko" ("Domo Mata").
Japanese: そうした理由から、配役では比較的軽い役どころが多く恵まれなかったが、それでも『矢の根』の曾我時致、『壷阪霊験記』の澤市、『娘道成寺』の押戻、『傾城反魂香』（吃又）の又平などは優れていた。
English: In addition to "Osozakura Teniha no Nanamoji" ("Echigo-Jishi"), which can be seen as a documentary film, buyo dances that perfectly demonstrated his specialty included "Yamato Gana Tamuke no Itsumoji" ("Komori"), the "Kisen" dance of "Rokkasen Sugata no Irodori," "Kagurauta Kumoi no Kyokumari" ("Dontsuku"), "Kairaishi" (buyo), "Mata Kuru Haru Suzuna no Tanemaki" ("Shitadashi Sanba"), "Miyama no Hana to Dokanu Edaburi" ("Yasuna") and "Mitsumen Komori," among many other productions.
Japanese: 本領を発揮した舞踊では、記録映画に残された『遅櫻手爾葉七文字』（越後獅子）のほか、『大和い手向五字』（子守）、『六歌仙容彩・喜撰』、『神楽諷雲井曲毬』（どんつく）、『傀儡師(舞踊)』、『再春菘種蒔』（舌出し三番）、『深山櫻及兼樹振』（保名）、『三つ面子守』、その他多数に至芸を見せた。
English: "Boshibari" and "Yayoi no Hana Asakusa Matsuri" ("Sanja Matsuri"), in which he performed with Kikugoro ONOE VI, were also very popular.
Japanese: また、尾上菊五郎(6代目)の相方として『棒しばり』や『彌生之花淺草祭』（三社祭）なども好評だった。
English: It is said that his designation as a Living National Treasure was given for the contributions he had made as a buyo performer, and even today Mitsugoro BANDO VII is known as 'Odori no Kami-sama' (literally, the god of dance).
Japanese: 人間国宝に認定されたのは舞踊家としての貢献が評価されたものだといわれ、七代目は今日でも「踊りの神さま」として知られる。
English: The headquarters are in Ikenohata, Taito Ward; its fellow organization is the Fuhaku Association, and a related institution is the Edosenke Chanoyu (tea ceremony) Research Association.
Japanese: 家元は台東区池之端にあり、同門組織として不白会、関連機関の江戸千家茶の湯研究所がある。
English: There are also several branches of the Edosenke school that count Fuhaku KAWAKAMI as their founder, including Edosenke Soke Renge-an, which is headquartered in Yayoi (Bunkyo Ward), Bunkyo Ward, and the Omotesenke Fuhaku school, which is headquartered in Koenji, Suginami Ward.
Japanese: また川上不白を祖と仰ぐ流派として、文京区弥生(文京区)に家元がある江戸千家宗家蓮華庵や杉並区高円寺に家元がある表千家不白流などいくつかの分派がある。
English: Fuhaku KAWAKAMI was the second son of a retainer of the daimyo who served the Mizuno family in the Shingu clan of Kii Province (Kishu); under the recommendation of Tadaaki Mizuno, then the head of the family, he was able to enter the school of Joshinsai, the seventh master of Omotesenke, and establish himself in chado (the way of tea).
Japanese: 川上不白は元は紀州紀伊新宮藩水野家に仕える藩士の次男で、当主水野忠昭の勧めにより表千家7代如心斎の門に入り茶道で身を立てることになった。
English: At that time, the Sansenke (three schools associated with Sen Rikyu) in Kyoto entered a significant period of reform with Joshinsai at the forefront, and as one of the leading disciples in taking on the reformation, Fuhaku was active in the establishment of the Shichijishiki (seven training exercises).
Japanese: 折しも京都の三千家では如心斎を中心に一大改革期を迎えており、それを担う高弟の一人として七事式の制定などで活躍することになる。
English: In 1750, after receiving instruction in the Shindaisu (tea shelf) and Nagabon (long tray), Fuhaku returned to Edo and first established a branch of the Omotosenke school called Mokurai-an in Surugadai, Kanda.
Japanese: 真台子ならびに長盆の伝授を受けた後の寛延3年（1750年）に、不白は江戸に戻ってまず神田駿河台で黙雷庵を営んだ。
English: It was then he learned that the last writings of Sen Rikyu were being kept by the Fuyuki family, who were wealthy merchants in Fukagawa (Koto Ward), and he negotiated for their return to Omotesenke.
Japanese: この折りに深川_(江東区)の豪商冬木家に千利休の遺偈が秘蔵されていることがわかり、不白の交渉により表千家に返納された。
English: In the following year, 1751, upon the death of Joshinsai, Fuhaku returned to Kyoto and looked after Joshinsai's affairs for four years.
Japanese: 翌年（1751年）に如心斎が亡くなると、上京して4年にわたって後事にあたった。
English: In 1755, Fuhaku again returned to Edo and established the Renge-an within the Kanda-Myojin Shrine, whereupon he gave instruction in the tea ceremony to a wide strata of society, from daimyo and wealthy merchants to townspeople and artisans.
Japanese: 宝暦5年（1755年）再び江戸に帰ると神田明神境内に蓮華庵を営み、大名・豪商から町人や職人に至るまで幅広い層に茶道の手ほどきをしている。
English: In 1773 he retired to the kumi-yashiki (residence for general samurai) of the Mizuno family, however he remained active in the tea ceremony for more than thirty years until his death in 1807.
Japanese: 安永2年（1773年）に水野家下組屋敷に隠居したが、その後も30年以上にわたって活発に活動を続け文化(日本)4年（1807年）に世を去った。
English: Subsequent generations served as tea masters for the Shingu clan in Edo or as tea instructors to the Tokugawa family in Mito; however, at the end of the Edo period, during the time of the fourth master of the Renge-an (Shinryu-sai), they returned to Shingu (Wakayama Prefecture).
Japanese: その後代々江戸で新宮藩の茶頭や水戸徳川家の茶道師範などを務めていたが、幕末の4代蓮華庵（新柳斎）のときに新宮へ帰った。
English: At the beginning of the Meiji period, the seventh master of the Renge-an again returned to Tokyo and restored the chado in Ikenohata, and he was known as the restorer of Edosenke.
Japanese: 明治の初めに7代蓮々斎が再び東京に出て池之端に茶家を再興し、江戸千家の中興と称せられる。
English: Therefore, Myogen-an, while he was still living, passed on the role of master to his eldest son, Myoshin-an Sosetsu, who succeeded to the position of tenth master.
Japanese: このため、名元庵は生前に家元の座を長男に譲り、名心庵宗雪が10代として家元を継承した。
English: However, three years later, upon the death of Myogen-an, Myogen-an's younger brother, Fushiki-an (不式庵) Kansetsu, also took the title of tenth master and independently started the Edosenke Soke Renge-an.
Japanese: しかし、3年後に名元庵が没すると、名元庵の弟不式庵閑雪も10代家元を名乗り、江戸千家宗家蓮華庵を称して独立した。
English: In order to distinguish between the two, and for the sake of convenience, Edosenke is called Edosenke (Ikenohata) and Edosenke Soke Renge-an is called Edosenke (Yayoi-cho).
Japanese: 両者を区別するために便宜上、江戸千家を「江戸千家（池之端）」、江戸千家宗家蓮華庵を「江戸千家（弥生町）」と呼ぶこともある。
English: Edosenke Soke Renge-an has foundations called the Edosenke Chado Association and its fellow organization, the Fuhaku Association.
Japanese: 江戸千家宗家蓮華庵には財団法人として江戸千家茶道会、同門組織として不白会がある。
English: The Kawakami Hamacho school was originated by Soju KAWAKAMI, a leading student of Fuhaku who established himself in Hamacho, and successive generations served as tea masters to the Arima family in the Kurume clan.
Japanese: 川上家浜町派は不白の高弟の川上宗什が浜町に居を構えたのに始まり、代々久留米藩有馬家の茶道役を務めていた。
English: In this line, during the time of the fifth master Renshin Sojun (蓮心宗順) after the Meiji Restoration, there were many ardent students of tea ceremony, including Donno Masuda and Kyohei MAGOSHI.
Japanese: この流れでは維新後5代蓮心宗順の時の門人に益田鈍翁・馬越恭平ら当時の数奇者が多い。
English: However, during the time of the sixth tea master Suren Sojun (素蓮宗順), the house in Hamacho burned to the ground as a result of the Great Kanto Earthquake, and the position of tea master was temporarily discontinued.
Japanese: しかし6代素蓮宗順のとき関東大震災によって浜町の住居を焼失してしまい、家元としては一時断絶という形になる。
English: The seventh master, Renshu Sojun (蓮舟宗順), was engaged in business for a while after graduating from the Tokyo University School of Law; however, after the war he restored the lineage in Koenji and it henceforth became known as the Omotesenke Fuhaku school.
Japanese: 7代蓮舟宗順は東京大学法科大学を卒業後しばらく実業界にあったが、戦後になって高円寺で家元を再興し、このときから表千家不白流と称するようになる。
English: Elsewhere, in the tea ceremony passed on from Sotsu ISHIZUKA, a student of Fuhaku, masters in the Meiji period were famous for their exchanges with Tenshin OKAKURA, and again, in the tea ceremony passed on by Ihaku KAWAKAMI, another student of Fuhaku, one of the masters was Shigeru KISHIDA, the wife of Ryusei KISHIDA, who was designated as the sixth master of Ihaku KAWAKAMI and then restored the Edosenke Ihaku school.
Japanese: このほか、不白の門人の石塚宗通が代々伝えた流れでは明治になって岡倉天心と交流があったことで有名であり、また同じく不白の門人で川上渭白が伝えた流れには岸田劉生夫人の岸田蓁（しげる）がいて、6代川上渭白と称して江戸千家渭白流を再興した。
English: The first through ninth generations were the same masters as the Edosenke, but some masters used different names or titles.
Japanese: 1〜9代は、江戸千家と同人物であるが、一部で異なった名や称号を使っている。
English: There were two yose called Fuki, that existed at Shinkyogoku, Kyoto City for about 30 years since early Showa era, and another existed at Uehommachi, Osaka City from Meiji era to Taisho era, though they shared the same name, they were not related to each other.
Japanese: 昭和初期から30年代にかけて京都市新京極に、明治から大正にかけて大阪市上本町に同じ名の寄席が存在したが、両者は互いに無関係である。
English: However Fuki started to have small audience because of the popularity of Kyoraku Theater, which was established by Nippon Dream Kanko as succession of Ebisubashi Shochiku theater, so that theatrical play with sword-rattling play and hand weaving demonstration was mainly performed, but theatrical performance was finished at nakaseki (performance showed from 11th to 20th of the month) of December 1958.
Japanese: しかし、戎橋松竹の後継として日本ドリーム観光が開設した京洛劇場の人気で客入りが悪くなり、剣劇や実演を主体に演芸を取り混ぜた興行を行った末、1958年12月中席で演芸興行を打ち切る。
English: It used to be one of base Joseki (rakugo theaters that open every day) for 'anti-Naniwa rakugo (Naniwa-style of rakugo storytelling) group' in Meiji to Taisho era.
Japanese: 明治から大正時代において「浪花落語反対派」の拠点定席の一つであった。
English: Commonly it is a rectangular cloth, which can wrap the waist one and half way round, and has a string attached to it (as an exception, yujo (a prostitute) used the one without a string).
Japanese: 腰をおおよそ一周半する長方形の布に紐をつけたものが一般的（遊女は例外的に紐が無いものを使った）。
English: It is used to protect lower half of the body as well as to avoid cling of wafuku to legs, and usually it is made with smooth fabric that causes less static electricity, such as Crepe Kimono.
Japanese: 下半身を保護すると同時に和服の裾が足にまとわりつくのを避けるためのもので、普通は縮緬など滑りが良く、静電気が起こりにくい布地を選ぶ。
English: Present nagajuban (a long undergarment) was not widespread in the early Edo period and that time, hanjuban (a short undergarment) of a waist length, and koshimaki (wafuku wraparound slip) were used as a set for inner wear.
Japanese: 現在の長襦袢が一般に広まっていなかった江戸前期には下着として、腰までの丈の半襦袢と腰巻を一組で使っていた。
English: After nagajuban covering down to ankles became widespread instead of hanjuban, susoyoke petticoat was divided to yumoji (koshimaki), an inner wear, and susomawashi (lining at the bottom of a kimono) (or hakkake (inside cloth used around cuff and hem)), which are sewed on behind hem to stop hem cling.
Japanese: 半襦袢に代わって足首までを覆う長襦袢が広く使われるようになってからは、裾除けは、下着としての「湯文字（腰巻）」と、裾裏に縫い付けて裾が纏わりつくのを防ぐための「裾回し（八掛）」とに分化した。
English: Koshimaki styled cloth made with beautiful fabric, such as silk, was called 'susoyoke' and 'kedashi' that they were sewed on yumoji as a part of fashion (so that it shows when hem is tucked up).
Japanese: また、湯文字の上に一種のおしゃれとして（裾はしょりをしたときに見えるように）付けた、絹などの美しい布で作った腰巻状のものを「すそよけ」「けだし」と呼ぶこともあった。
English: Presently most of susoyoke petticoat is relatively simple as nagajuban is a formality.
Japanese: 長襦袢が正式とされるようになった現在においては、比較的質素なものが多い。
English: Ranryo-o, who was a handsome and great commander, challenged to a battle covering his graceful face under fierce mask, and won a great victory.
Japanese: 眉目秀麗な名将であった蘭陵王が優しげな美貌を獰猛な仮面に隠して戦に挑み見事大勝した。
English: The number is marked by both heroism worthy of warrior's dance and elegance that recollect Ranryo-o, who was known for his matchless handsomeness.
Japanese: 武人の舞らしい勇壮さの中に、絶世の美貌で知られた蘭陵王を偲ばせる優雅さを併せ持つ。
English: According to the legend that originated the number, Changgong GAO was a great commander who was capable of defeating a massive enemy force just by 500 horsemen to surround Rakuyo (Luoyang).
Japanese: この曲の由来となった伝説によると、高長恭はわずか五百騎で敵の大軍を破り洛陽を包囲するほどの名将であった。
English: However, since Changgong GAO had such a golden voice and was so handsome that people described him as 'Onyo Kenbi' (having both an excellent voice and looks), he wore a fierce mask in every battle so that the enemy would not look down on his soldiers, who might otherwise be demoralized due to their fascination with him.
Japanese: しかし「音容兼美」と言われるほど美しい声と優れた美貌であったため、兵達が見惚れて士気が上がらず、敵に侮られるのを恐れ、必ず獰猛な仮面をかぶって出陣したと言うもの。
English: When a male dances Ranryo-o, he wears a dragonhead shaped mask in accordance with the legend, but when a female or a child dances the number, he or she only wears makeup without a mask possibly because of imitating the graceful feature of Changgong GAO.
Japanese: 男性がこの舞を舞うときは伝説に則して竜頭を模した仮面を用いるが、女性や子供が舞う場合は優しい顔立ちであった高長恭になぞらえてか化粧を施しただけの素顔で舞うこともある。
English: The actual fact of the legend is that, Changgong GAO arrived at Rakuyo castle gate with reinforcements when Northern Zhou enveloped Rakuyo, but people inside the castle did not open the gate suspecting of enemy machinations.
Japanese: この伝説の実際の所は、北周が兵を発して洛陽を包囲した時、援軍を率い城門の前に到着したものの城内の人間が敵の策謀を疑って門を開けなかった。