nntsuzu/KFTT huggingface dataset:
English: In 1789 during the Edo period, at the time of building Imperial Palace, the Edo bakufu (Japanese feudal government headed by a shogun) ordered Kunihiko SHIBANO, a Confucian scholar, to conduct the historical investigation of kanpukuko (apparel in the painting).
Japanese: 江戸時代になって、寛政元年、内裏造営のさいに、江戸幕府は図の冠服考を儒学者柴野邦彦に命じて考証させた。
English: The bakufu had the 'Horaizu' painting in the top center restored to the ancient style, '負文亀.'
Japanese: 従来の中央上部の「蓬莱図」を古式に復し「負文亀」の図にあらためさせた。
English: Among the 32 sages, Zhou MA, Xuanling FANG and Ruhui DU had been restored based on the Tosa family's ancestral paintings.
Japanese: 聖賢32人のうち馬周、房玄齢、杜如晦の3人は土佐家伝来の図にもとづき復古させた。
English: Similarly, 8 sages from Yoyu through Geikan had been revived based on the "Nenju Gyoji Emaki" (Picture Scrolls of Annual Functions), and Boyu QU and Shinan YU as well based on the paintings of Confucian student and the 18 graduates of literature museum, Bungakukan.
Japanese: 羊祐以下倪寛までの8人は『年中行事』の図にもとづき、蘧伯玉、虞世南の2人は孔門弟子の図と十八学士のなかから選考し復古させた。
English: To make kotsuzake, pick the bones and fins out of a grilled fish after eating it, roast and burn them for a while.
Japanese: 焼き魚で肉をとったあとの骨や鰭（ひれ）などをふたたび火にかけてあぶり、ちょっと焦がす。
English: Then, put these bones and fins in a cup, pour warmed sake over and taste the it with the unique flavor.
Japanese: コップなどに入れ、熱燗の酒をこれにそそぐことで日本酒に独特の香味を付けてあじわうことができる。
English: One whole grilled fish can flavor 2 or 3 cups of sake.
Japanese: 焼き魚をそのまま使用する場合は一尾で2～3合の酒に風味を付けることができる。
English: The fish used for making kotsuzake can be eaten like an ordinary grilled fish by adding salt, soy sauce or other seasonings.
Japanese: 使用済みの魚は通常の焼き魚と同様に、醤油・塩などで好みの味付けを施し、食すことができる。
English: Hauta in this page collectively refers to short songs and ballads in the mid-Edo period and after.
Japanese: この項でいう端唄とは江戸時代中期以降における短い歌謡の総称のことである。
English: Kouta were also referred to as hauta up until 1920s, but later, these came to be clearly categorized into hauta, kouta, utazawa (popular ballad) and folk song.
Japanese: 1920年代までは小唄も端唄の名で呼ばれていたが、その後端唄・小唄・うた沢・俗曲とはっきりと区別されるようになった。
English: At present, hauta is defined as short songs that are not categorized as kouta, utazawa or folk songs.
Japanese: 現在では小唄・うた沢・俗曲に属さない江戸期の小曲が端唄であると定義される。
English: With this background, traditional hauta had been categorized as one of the above types of songs, and there had been few songs that were unique enough to be regarded as hauta.
Japanese: 以上のような経過から、従前の端唄は上記のどれかに吸収されており、独自の端唄とするに足りる曲は非常に少ない。
English: This is why songs and ballads regarded as hauta in some literature and websites are categorized as utazawa or kouta in others.
Japanese: 様々な文献やサイトで端唄とされるものがうた沢とされていたり小唄とされているのはこのような事情による。
English: At the time of the Reforms, shamisen (a three-stringed Japanese banjo) was regarded luxurious and the bakufu (Japanese feudal government headed by a shogun) forbade the common people to play it.
Japanese: これは改革時に三味線が贅沢なものと見なされ、庶民が三味線を弾く事を幕府から禁止されてしまった。
English: Although professional nagauta players could continue to play the instruments to the accompaniment of kabuki and for other occasions, giving shamisen lessons in town, so-called 'music teachers in your town' (similar to private music lessons held at the teacher's house today), was banned.
Japanese: 歌舞伎伴奏などのプロの長唄奏者は営業が続けられたが、街角の稽古場で三味線を教えるようないわゆる「街のお師匠さん」（今で言う個人宅の音楽教室）は禁止されてしまったのである。
English: The common people then came to be able to play shamisen again, but it was difficult for ordinary people who hadn't touched the musical instruments for such a long time to recall long songs such as nagauta.
Japanese: そこで庶民らは再び三味線を手にすることが出来るようになったが、長く楽器を触っていなかった者にとっては長唄のような長いレパートリーをすぐにさらい直す事は素人には難しい。
English: Therefore, hauta became popular as they were easy to learn and play for their shortness.
Japanese: そこで覚えたての小曲をすぐに弾くことが出来るという理由で、端唄がもてはやされるようになったのである。
English: The fushimawashi (intonation) are also slightly different; the intonation for hauta is not as strong as that of utazawa.
Japanese: また、節回しも若干の相違があり、うた沢に比べてサラリとうたうのを特徴とする。
English: Dakyu, also known as Uchimari (Japanese polo) is an athletic sport or a game similar to polo, once played in Japan.
Japanese: 打毬（だきゅう、うちまり）は、日本でかつておこなわれた、ポロに似た競技、遊戯である。
English: Players on horseback are divided into two teams, and strive to be the first to get balls on the field into their own team goals by using Giccho (a long-wood stick).
Japanese: ウマに騎った者らが2組に分かれ、毬杖をふるって庭にある毬を自分の組の毬門に早く入れることを競う。
English: According to "Manyoshu" (Collection of Ten Thousand Leaves) Vol. 6, royal princes and their retainers gathered to play Dakyu at Kasugano in the New Year 727.
Japanese: 『万葉集』巻6に、神亀4年正月に王子諸臣が春日野に集まり、打毬をおこなったことが見える。
English: "Saikyuki" (record of court practices and usage, written by MINAMOTO no Takaaki in Chinese style) describes that the Emperor went to Butoku-den (an exercise hall) to watch a game of Dakyu on June 3, 727.
Japanese: 『西宮記』には5月6日、天皇が武徳殿に行幸し、打毬を観覧したことが見える。
English: According to it, 40 players (15 players of officials, each from the Left and the Right Divisions of Inner Palace Guards, and 10 players of officials from the Middle Palace Guards) play two matches of Dakyu; they lead horses, which belong to the Left and the Right Divisions of Bureau of Horses, from the back of both camps of the Left and the Right Divisions of Inner Palace Guards to the east side of the goals, and stand in a row.
Japanese: それによれば、打毬者40人（左右近衛府官人以下各15人、兵衛府官人以下各10人）を2番として、各左右馬寮の馬をひきいて、左右近衛の陣の後から、毬門の東辺を経てつらなる。
English: After players bow to greet the lord, they get down to the playing ground, and mount on horseback; when the minister bowls the ball, both teams start to compete in hitting the ball.
Japanese: 主上のほうへ拝了ってのち、馬に騎って、ともに階下に進んで、大臣の毬を投げたのち、たがいに争い打つ。
English: It nearly died out; the plan for reviving Dakyu emerged during the Kyoho era because of the need for martial training in the Edo period; however, it was left undone.
Japanese: いつの間にか衰えたが、江戸時代になって練武の必要から享保年間に再興の企があったが、おこなわれることはなかった。
English: In the game during the Edo period, the red and white colored signs are erected at the goals; 10 riders are drawn up side by side inside the goal; 5 riders each are located on the right and left sides.
Japanese: 江戸時代の方法は、毬門に紅白の験を立てて、毬門内に騎者10人、左右5騎ずつくつわを並べ、控える。
English: At the rear left and right of riders, officials are stationed, who strike a bell and a drum to proclaim the point made in the game; they attend to incoming and outgoing of the balls to determine the outcome of the game working with Marimetsuke and Maribugyo (referees).
Japanese: 騎者の後方左右に、勝負の合図に鉦鼓を打つ役人がいて、毬目付毬奉行門のかたわらでたがいに毬の出入りを検し、勝敗を分かつことを司る。
English: The red and white flags called Shoshinki are lined on the right and left sides of the goal; the flag is raised every time a ball enters the goal, and also used when a song of victory is played after all balls are pitched into the goal.
Japanese: また、勝振麾という紅白の麾を左右にならべたて、毬が門にはいるたびごとにこれをふりあげ、また毬がすべて入り終わったときに勝鬨歌をあげるのにもちいる。
English: At the other end of the playing ground, dozens of balls are piled up on either side, one red, the other white; the red and the white flags hung at two masts to mark them.
Japanese: 馬場の他方の端には、紅白の毬を左右相対して数十ずつ並べて、柱2本を立てて、これに目当ての験として紅白の麾がつけてある。
English: When the time comes, an official wearing Tsugi kamishimo (a ceremonial dress of the warrior class) appears from Umaba dono (a palace in the middle of a horse-riding ground) to tell Maribugyo the order of the lord to start a game of Dakyu.
Japanese: 定刻になると、馬場殿から継上下着用の役人が来て、毬奉行に打毬を開始するようにという君命を伝える。
English: Maribugyo unfolds a rising-sun fan facing toward the goal and raises it high above his head as a sign.
Japanese: 毬奉行は毬門のほうにむかって日の丸の扇子を開いて、頭上高くあげて、合図を送る。
English: Following the sign, riders, who previously stand in readiness within the goal, hold Giccho horizontally with the right reins; both riders wear a horse-riding Hakama (loose-legged pleated trousers for formal wear), Ayaigasa (a rush hat), the red and the whiteTasuki (a band of cloth used for holding kimono) made of silk crape, and the same Kasajirushi (helmet badges) at their belts.
Japanese: 合図に応じて、毬門内に控えていた騎者らは毬杖を横にして右の手綱にもちそえ、馬乗袴、綾藺笠、紅白縮緬の襷、同じ笠標を腰にさす。
English: When Marimetsuke, a referee at the goal, raises a flag as a sign, each rider puts the stick down; when Marimetsuke flings up the flag, each rider moves forward at a trot to scoop his ball, and throw it into the goal as quickly as possible.
Japanese: 毬門の方の毬目付が合図の麾をあげると、各騎者は杖を下し、毬目付が麾をふりあげると、端の馬から順番に声を発し、早足で乗り出し、自分の毬をすくってはわれさきに投げ入れる。
English: The player who has scored first rushes into the goal following his ball; at the moment of his attempt, he shouts and waves his team's flag.
Japanese: 最初に毬を入れた者は、毬に続いて自分も毬門に乗り込み、声をあげると、そのときその方の麾をふる。
English: Sometimes the balls enter the goal disorderly like red balls go into the white side, or white balls into the red side; riders hover around the goal to block or hinder enemy's attacks.
Japanese: 白方へ紅毬、紅方へ白毬といりみだれて入ったときは、たがいに入れさせないよう馬を乗りまわして、敵方の行方を遮りさまたげる。
English: Both sides are prohibited from touching the enemy's balls until the first scoring is made; after either side has made the first scoring, its players can scoop the enemy's balls to throw back.
Japanese: 初入のない間は、互いに敵の毬に触れることは禁じられ、初入のあった後は、敵の毬をすくって後へ戻すことができる。
English: After both sides have made the first scoring, both players can throw back enemy's balls and strive for putting their own balls into the goal.
Japanese: 双方初入のあった後は、相互に敵の毬を戻し味方の毬を入れようと争うことができた。
English: After the required number of balls have been thrown into the goal, the bell or the drum declares the winner, and the flag of the winner's side is raised to determine the outcome of the match.
Japanese: 毬がことごとく入ってしまったときは、勝方の鉦鼓をならし、勝方の勝振麾をあげ、勝敗の決したことをしらせる。
English: Seeing this, all the riders of the winner's side ride off from their own goal by raising the sticks overhead, and shouting in triumph.
Japanese: これを見て勝ち方の騎者はみな毬杖をふりあげながら味方の毬門から乗りこみ勝鬨をあげる。
English: The defeated team withdraws from the goal; after the shout of victory, and Maribugyo raises the fan as a sign, its players lead their horses to the starting position.
Japanese: 負方は門外にひかえ、勝鬨が終わり毬奉行が合図の扇子を出すときにウマをもとの地に駐める。
English: The riders take the first position in a row by turns; in the second match, the rider who has previously taken the first position goes to the end of the row, and the second rider takes the first position instead; in the third match, the third rider; in the fourth match, the fourth rider; the outcome of the whole game is decided in the fourth match.
Japanese: 2回目は最初、端の馬であった者は後にまわり、2番目の者が端になり、3回目には3騎目、4回目には4騎目と、順番に端を騎り、4回目で全体の勝敗を決する。
English: The ball, whose core is once made of hair surrounded by leather or cloth, is round or oval-shaped (mathematically), about 24.24cm in circumference.
Japanese: 毬は、かつては毛を入れて作り、革または布でつつみ、周囲約8寸、円(数学)形または楕円形であった。
English: The stick called Giccho is made of Shinotake (a small bamboo), which is cut to be the length equal to the height of the horse; a big bamboo, which is split into strips and bent over so as to form a J-shape, is bound to the outer end of the stick where the thin lace net is loosely stretched.
Japanese: 毬杖は、篠竹を馬の背丈の長さに切り、大竹をわりまげて鉤形にしたものを先に結びつけ、細紐で網がはってあった。
English: "Kamigata uta" (also called "Kamigata hauta") is the songs with shamisen (the three-stringed Japanese banjo) accompaniment, performed and enjoyed in Kamigata (Kyoto-Osaka area).
Japanese: 上方歌（かみがたうた）は、「上方唄」とも、「上方端唄（歌）」とも呼ばれる京阪都市部の三味線音楽である。
English: The term Kamigata uta has been used as another name of 'jiuta' (a genre of traditional songs accompanied with shamisen), especially in places other than Kamigata, such as Edo (Tokyo area).
Japanese: 上方歌は「地歌」の別称としても使われる（特に江戸その他の地域から見ての呼称）。
English: In some cases, 'Kamigata hauta' has been used as another name of 'hauta mono' (Japanese short ballads accompanied with shamisen) which belongs to jiuta.
Japanese: 地歌の「端歌（唄）もの」の別称として「上方端唄」があてられることもある。
English: Kamigata uta has also been used in the world of "Kamigata mai" (dances born in the pleasure quarters of Kamigata) and in some parts of the world of "jiuta sokyoku" (songs accompanied with shamisen and koto [the long Japanese zither with 13 strings]), but this Kamigata uta seems to be a little different from the above-mentioned "Kamigata uta."
Japanese: しかし、特に上方舞の世界や関西の一部の地歌箏曲の世界で使われるこの名称がさすものはそれとは少し異なるジャンルの音楽のようである。
English: Kamigata uta has been popular like hauta mono of jiuta in geisha quarters and in the public from the Edo period though it is difficult to make a strict distinction between the two.
Japanese: 厳密に区別するのは難しいが、地歌の「端歌もの」同様、江戸時代以降花街や民衆の間で流行した。
English: Many Kamigata uta seem to have more rhythmical melody and more cheerful lyrics than hauta mono in jiuta.
Japanese: 上方歌は、地歌の「端歌もの」と比較してテンポ・歌詞の内容が軽快で明るい曲調のものが多い傾向にある。
English: Kamigata uta seems to include some minyo (traditional Japanese songs), originally enjoyed in local areas (mainly those near Kamigata) and picked up and loved by people, including those in the quarters of geisha.
Japanese: 地方（主に上方に近い地域）の民謡などの中から花柳界の座敷等で好まれたものも上方歌には含まれるようである。
English: And some Kamigata uta were introduced into Edo, and became a part of the Edo music repertoire, that is, hauta (so called "Edo hauta"), kouta (a Japanese ballad accompanied with shamisen), utazawa (popular ballads), and zokkyoku (folk songs).
Japanese: また、一部が江戸に上り、端唄（いわゆる「江戸端唄」）、小唄、うた沢、俗曲の曲の一部となった。
English: Kamigata uta has been handed down by people in the world of geisha of Kamigata, and by jikata (people in charge of music) in the world of Kamigata mai.
Japanese: 京の花街や大阪の花街の花柳界、上方舞の世界の地方（じかた）を務める人々によって伝承されている。
English: In addition to Edo kouta, there exist various kouta, such as Gendai kouta (modern kouta), Kiyomoto kouta, Tokiwazu kouta, Gidayu kouta (also called Toyomoto-bushi), and Shinnai kouta.
Japanese: ほかに現代小唄・清元小唄・常磐津小唄・義太夫小唄（豊本節）・新内小唄などがある。
English: In spite of the literal meaning of tsume biki, the shamisen player should use not its fingernails but its fingertips alongside for plucking the strings.
Japanese: 爪弾きとは言え、正式には爪は糸に当ててはならず、爪の横の指の端で弾く。
English: Kouta was mainly performed in a Japanese-style drawing room of the size of four and a half tatami (a Japanese floor mat), so the player naturally began to pluck with its fingers, instead of the plectrum that made the sound too big for the room.
Japanese: 演唱の場は主に、お座敷（4畳半）が多く、撥を使用すると音色が大き過ぎる為に自然と爪弾きとなった。
English: In kouta, chuzao (a middle-sized shamisen, smaller than the shamisen in hauta) is used, and the string is thicker and the wooden koma (bridge) is bigger than that of hauta.
Japanese: 三味線は端唄と違い、中棹を使用し、使用する糸も端唄より太く、駒は端唄よりも大きな木製の木駒を用いる。
English: Basically, one kouta group consists of a shamisen player and a singer, and occasionally, there exists another shamisen player of kaede (the accompanying melody), uwajoshi (the higher range melody), or sagarijoshi (the lower range melody).
Japanese: 基本は三味線１、唄方１であるが、替手や上調子、下調子が入る唄もある。
English: There exist various lyrics, such as yuri mono (also called yujo mono, the song of love affairs in the red-light district), bojo mono (also called jochi mono, the song of love affairs of the public), shibai mono (the song featuring a drama), yakusha mono (the song featuring an actor), bareuta (the song that has a satirical or sophisticated flavor), and inakauta (a traditional folk song and the like).
Japanese: 詞の内容は遊里物・遊女物（遊里のお色気を扱ったもの）、慕情物・情痴物（市井のお色気を扱ったもの）、芝居物・役者物（芝居や役者を題材にするもの）、バレ唄（諷刺・洒脱のきいたもの）、田舎唄（民謡系）などがある。
English: At present, about 70 schools are making their activities, and they are making every effort to train the younger generation, because most members of the schools are aging.
Japanese: 現在では約70流派が活動を続けているが、高齢化が進み、後輩の育成に各流派ともに尽力している。
English: The term "toji," written as 杜氏 in Japanese, refers to a person who supervises kurabito, a group of skilled workers responsible for sake brewing, and works as the chief executive brewer at a brewery.
Japanese: 杜氏（とうじ、とじ）とは、日本酒の醸造工程を行う職人集団、すなわち蔵人の監督者であり、なおかつ酒蔵の最高製造責任者をいう。
English: The term "toji" (刀自) represented an archaic Japanese word "tonushi" (written as 戸主 in Japanese) which meant a housewife who managed all housekeeping duties, and this word was an antonym of the word "tone," written as 刀禰 in Japanese, which represented a male worker.
Japanese: 刀自とは、日本古語では戸主（とぬし）といい、家事一般をとりしきる主婦のことを指し、働く男を指したという刀禰の対語にあたる。
English: In various regions of Southeast Asia, there was a widespread primitive alcohol brewing method called "kuchikami no sake" (which literally means "chewed alcohol"), in which people made alcohol by chewing boiled grains with saliva in their mouths in order to take in wild yeast from the air to ferment the grains and make alcohol.
Japanese: 東南アジア各地には、煮た穀物を口で唾液と共に噛みつぶし、空気中から野生酵母を取り込んで発酵させて酒を造る、いわゆる日本酒口噛み酒という原始的な醸造法が広く存在した。
English: According to the "Osuminokuni Fudoki" (the records of the geography of Osumi Province), initial Japanese sake was also a sort of such alcohol (refer to the section of Ancient Times in the article of History of Japanese Sake).
Japanese: 初期の日本酒もその一種であったことが『大隅国風土記』にうかがえる（参照日本酒の歴史口嚼ノ酒（くちかみのさけ）とカビの酒）。
English: The Miki no Tsukasa (the office in charge of the brewing of sake and vinegar) brewed sake at the Imperial Court in and after the Asuka period, and the sakabe (the section in charge of sake brewing) still had some female personnel at that time, but sake brewing gradually became a men's job as time went by.
Japanese: やがて朝廷の日本酒の歴史朝廷による酒造り（みきのつかさ）において酒が造られていた日本酒の歴史朝廷による酒造りにも、日本酒の歴史朝廷による酒造りにはまだ女性も含まれていたが、時代を下るにつれ酒造りはしだいに男性の仕事になっていった。
English: In ancient China, there were gods of alcohol named Yi Ti and Du Kang (pronounced as toko in Japanese), and this opinion insists that the term came from the story that people who made good sake were given a surname (written as 氏 in Japanese) Toko (written as 杜康 in Japanese) which was derived from the latter god.
Japanese: 古代中国では儀狄（ぎてき）と杜康（とこう）という酒の神がいたが、後者に由来して良い酒を造った者に杜康という氏を授けたことに由来するとする説である。
English: The "Toji Shigyo Nikki" (the log of To-ji Temple management), which is a document handed down at To-ji Temple in Kyoto, also has some descriptions which seem to support this theory.
Japanese: 京都の東寺に伝わる『東寺』にもこれを裏づけるように読める記述がある。
English: This theory says the term's sound came from '刀自' (toji) and the characters 杜康 were assigned to the term afterward.
Japanese: 音としては刀自（とじ）を継ぎ、杜康の字をそれに宛てるようになったとする説である。
English: According to this theory, the character '社' was changed to '杜,' and '司' was changed to '氏' as time passed by.
Japanese: 時代の推移のなかで、「社」は「杜」、「司」は「氏」へ変換されたとされる。
English: This theory explains that the term's origin is the word 'toji' (written as 頭司 in Japanese, which literally means "headman") which refers to a leader who manages a sake brewing team.
Japanese: 酒造りチームの一党を率いるリーダーという意味の「頭司」（とうじ）が起源だとする説。
English: The brewing of Japanese sake has such a long history that it dates back to ancient times when women played a key role in sake brewing in each community, as the above section 'Toji (刀自) Theory' describes.
Japanese: 日本酒醸造の歴史は日本酒の歴史上代以前にまでさかのぼる長いものであり、そのころは上記「名称の由来」にあるように、各集落の女性が酒を造る役割を負っていた。
English: The Imperial Court began to manage sake brewing as time went by, and they established a division called Miki no Tsukasa in the Asuka period.
Japanese: 時代が下ってくると日本酒の歴史朝廷による酒造りが営まれるようになり、飛鳥時代には朝廷に造酒司（みきのつかさ）という部署が設けられた。
English: In that division, specialists who were given a position called sakabe, whose status was equivalent to the status of a present-day government official, were in charge of sake brewing.
Japanese: そこでは酒部（さかべ）と呼ばれる、今でいうなら国家公務員のような地位を与えられた専門職が酒造りを担当していた。
English: Although they were indeed brewing specialists, it is hard to say that they were the direct origin of latter-day toji, in terms of whether there were group-specific techniques or not, and/or in terms of their organization system.
Japanese: しかし同じ醸造技術者ではあっても、流派ごとの技法の有無や、集団としての制度などを考えると、後世の杜氏の直接的起源とは言いがたい。
English: The main stage of sake brewing shifted from the Imperial Court to temples, and priests who had expert knowledge about brewing began to brew soboshu (sake brewed at major temples).
Japanese: 酒造りの舞台は朝廷から寺院へと移り、醸造についての専門知識を備えた僧たちが僧坊酒を造るようになった。
English: Unlike sakabe at the Miki no Tsukasa, such priests can be somewhat regarded as the origin of latter-day toji schools because they developed each temple's unique taste and brewing method such as bodaimoto (the oldest starter of refined sake), but they still did not have a direct relation with latter-day toji, in view of their organization system.
Japanese: この僧たちは造酒司の酒部とは異なり、菩提酛に代表されるようなそれぞれの寺院の味や造り方を分化させていったため、のちの杜氏集団の流派の原型と見ることもできるが、集団としての制度など考えると、後世の杜氏とは直接的なつながりはない。
English: Subsequently, people who claimed descent from sakabe or their distant relatives began to brew sake independently of the Imperial Court and temples.
Japanese: やがて、酒部の子孫を自称する人々や、その遠縁にあたる者などが、朝廷や寺院とは関係のないところで酒を造り始めた。
English: Such brewing specialists who were equivalent to modern-day 'private' brewing experts were called sakashi (which literally means "sake master"), and stores which brewed and sold sake were called tsukuri-zakaya (which means "sake brewer and seller," and they were also simply called 'sakaya' (sake shop). Refer to the section of Sakaya for the difference between them).
Japanese: このような、今日でいう「民間」の醸造技術者のことを酒師（さかし）といい、また酒を造り販売した店を造り酒屋（あるいは単に「酒屋」とも。区別については酒屋の項を参照）という。
English: Tsukuri-zakaya prospered in their business in Kyoto during the Kamakura and the Muromachi periods, and other regions also had high-quality sake with marked regional characters called yosozake (which literally means "another place's sake"), which was the origin of present-day jizake (local sake), such as Hogenzake in Echizen Province, Miyakoshizake in Kaga Province, and Egawazake in Izu Province.
Japanese: 日本酒の歴史鎌倉時代や日本酒の歴史室町時代には、京には造り酒屋が隆盛し、京の以外の地方でも他所酒（よそざけ）といって、越前国の豊原酒（ほうげんざけ）、加賀国の宮越酒（みやこしざけ）、伊豆国の江川酒（えがわざけ）など、現在の地酒の原型となる地方色豊かな銘酒が造られていた。
English: However, such sakashi people were less hierarchized and organized than latter-day toji groups; indeed, their sake brewing duties were more horizontally and widely specialized rather than vertically specialized.
Japanese: しかしながら、彼ら酒師たちは、後世の杜氏集団ほど階級化・組織化されておらず、むしろ酒造りの仕事は、上下に階級化されるよりも、水平に幅広く分業化されていた。
English: Although the production of koji (malt grown on rice used as a starter to make sake) is completely included in the job of a toji group at present, it was not included in the job of a sake brewing specialist group yet, and it was not even the job of a tsukuri-zakaya before the Koji Riot of the Bunan Era occurred in 1444.
Japanese: 文安の麹騒動（1444年）以前は、現在では完全に杜氏集団のなかの仕事である日本酒麹についても、まだ酒造りの職人集団の仕事ではなく、造り酒屋の仕事ですらなかった。
English: This was because they outsourced it to koji-ya (koji supplier), whose primary business was the production of koji, and they were in another industry.
Japanese: なぜなら、それは麹屋という、麹造りを生業とする別の業界の店へ外部発注に出していたからである。
English: At that time, therefore, a toji group did not have a position which was equivalent to a kojishi (a person in charge of the koji production) or koji-ya in a latter-day toji group.
Japanese: したがって、のちの杜氏集団の中における麹師（もしくは麹屋などとも）の役職は、このころは杜氏集団に属していなかった。
English: Brewing specialists who were invited from the capital city were generally called sakashi or kojishi rather than toji even after the Edo period began, or until the latter of the Edo period in some regions.
Japanese: のちに江戸時代に入ってからもしばらくは、地方によっては日本酒の歴史江戸時代後期まで、中央から招いた醸造技術者に対しては「杜氏」よりも「酒師」「麹師」という呼称が一般的であった。
English: The direct origin of present-day toji and the kurabito system appeared at the beginning of the Edo period.
Japanese: 現在の杜氏や蔵人の制度の直接的な起源は日本酒の歴史江戸時代前期となる。
English: There were two facts which triggered toji; firstly Zen-emon KONOIKE developed a technique of large-sized preparation barrels in 1600, which can be said to be the industrial revolution of Japanese sake, and secondly the shogunate and domain system was established and it settled a relation between peasants and their lord in each region.
Japanese: 杜氏の発生の前提として、まず日本酒の産業革命ともいうべき、鴻池善右衛門による大量仕込み樽の技法が慶長5年（1600年）に開発されたこと、さらに、幕藩体制が敷かれ、各地方において農民と領主の関係が固定したことの二つが挙げられる。
English: Its origin is that peasants in a region where farming during only a summer period could not produce enough money due to poor lands formed a group involving young people in their villages, and they went to another region called sake-dokoro (a place famous for sake brewing) where people brewed sake using the local good water, in order to make some additional incomes during a winter period, which was an agricultural off-season.
Japanese: 概して土地が乏しく夏場の耕作だけでは貧しかった地方の農民が、農閑期である冬に年間副収入を得るべく、配下に村の若者などを従えて、良い水が取れ酒造りを行なっている地域、いわゆる酒どころへ集団出稼ぎに行ったのが始まりである。