nntsuzu/KFTT huggingface dataset:
English: Jukei learned kabuki from the sixth and appeared in many movies by the name Kikutaro ONOE, in addition to performing on kabuki stages.
Japanese: 壽應は六代目を師とし、尾上菊太郎という名で、歌舞伎のほか多数の映画にも出演した。
English: He had no financial problems (at least until the dissolution of financial groups in Japan), because the money of the YASUDA financial group always flowed in to him.
Japanese: 安田財閥の金が恒常的に流れてきたため、少なくとも財閥解体まではまったくお金に困らなかった。
English: He was famous for his work in the role of Yuranosuke (one of the core characters of Chushingura, a famous kabuki play), in the seventh episode of Chushingura, and his portrayal of going on an extravagant spree was totally natural; it even brought forth the opinion that such natural acting was because he usually went on extravagant sprees at his own expense.
Japanese: 由良之助役者としても知られたが、七段目では、豪遊ぶりがいかにも自然で、それはまさしく普段から自分の金で現実に豪遊しているからだという評があるほどである。
English: He wasn't fussy in his life off the stage; he neither displayed any distasteful characteristics, nor did he ever fawn over others.
Japanese: 実生活でもコセコセしたところがなく、どんな人に対しても人間のいやらしい部分、卑屈な部分を見せることがなかった。
English: Widely known as a railroad fanatic, he was so adored by railroad-related people and fanatics that he was often invited as a guest at the ribbon-cutting ceremonies of commemorative events such as the debuts of new-model cars and the launches of railroad companies' new lines.
Japanese: また、大の鉄道ファンとしても知られ、鉄道各社の新型車両デビューや新路線開業などの数々の記念イベントのテープカットに来賓として頻繁に招待されるなど、鉄道関係者や鉄道ファンに大いに慕われた。
English: He was adopted by Nizaemon KATAOKA XI, who had moved his base to Tokyo, and he became Nizaemon's third son.
Japanese: すでに東京に拠点を移していた片岡仁左衛門(11代目)の養子に入り、三男となる。
English: At around that time, he acted mainly in Tokyo and started studying under Chusha ICHIKAWA VII, who had inherited the acting style of Danjuro ICHIKAWA IX, etc.
Japanese: この前後から東京を中心に活動し、市川團十郎(9代目)の芸系を受継ぐ市川中車(7代目)などについて積極的に学ぶ。
English: In 1932, he founded Seinen-kabuki (youth kabuki troupe) in Shinjuku Daiichi Gekijo (currently the Shinjuku branch of Otsuka Furniture Store) of Shochiku, and he led the troupe (as kakidashi, a young actor gaining popularity who appears first on the actors' name board) along with Shiuka BANDO (Kanya MORITA XIV) and tome (the core actor appearing last on the actors' name board) Gafu KATAOKA IV (Chiyonosuke).
Japanese: 1932年、松竹・新宿第一劇場（現：大塚家具新宿店）で青年歌舞伎を結成し座頭をつとめる（書き出坂東志うか（十四代目守田勘弥）、トメ四代目片岡我當（千代之助））。
English: In 1951, he succeeded to the stage name Nizaemon KATAOKA after his late father, but with the dawn of the '60s Kansai kabuki started a significant decline and he couldn't act as he wanted.
Japanese: 1951年には亡父の後を襲って片岡仁左衛門を襲名するも、1960年代に入ってから関西歌舞伎の凋落いちじるしく、思わしい活動が行えなかった。
English: He launched a group of self-promoting plays 'Shichinin-no-kai' (a group of seven persons) together with Ganjiro NAKAMURA II and Enjaku MINOKAWA II, but ultimately the group failed.
Japanese: 中村鴈治郎(2代目)、實川延若(2代目)らとともに、自主公演の集まり「七人の会」をたちあげたが不調に終わる。
English: Being worried about the state of Kamigata (Kansai region) kabuki, Nizaemon made up his mind to protect the presence of the tradition and daringly held self-promoted performances five times in and after 1962; he called them 'Nizaemon Kabuki' and funded them himself.
Japanese: このような上方歌舞伎の現状を憂い、伝統の灯火を守ることを決意した仁左衛門は、私財を投じ「仁左衛門歌舞伎」と称して1962年以降五回にわたって自主公演を決行。
English: However, he made efforts to develop human resources including holding kabuki classes for high-school students and instructing young actors and actresses by leading 'wakaayu-no-kai (group of young sweetfish).'
Japanese: 一方では高校生を対象とする歌舞伎教室を開催、「若鮎の会」を主宰して若手俳優の指導など人材育成に努めた。
English: In 1966, Nizaemon's portrayal of Izaemon in "Kuruwa-Bunsho" (Yoshida-ya) at the Kabuki-za theater received a high reputation from play lovers, and Nizaemon's acting, which until then had been called merely reliable despite its unique characteristics, started to vary.
Japanese: 1966年、歌舞伎座で演じた『廓文章』（吉田屋）の伊左衛門が好劇家から高い評価を受け、それまでどちらかといえば独特な持味はあるものの、手堅いだけとされていた仁左衛門の演技に変化がおとずれる。
English: Surprisingly, the acting of Nizaemon was remarkably sophisticated from his late seventies to his eighties, and suddenly he was added to the list of excellent actors.
Japanese: 仁左衛門の芸は、驚くべきことながら七十代の後半から八十代に至って飛躍的に深化し、一躍、名優の列に加えられることになった。
English: In 1981, his portrayal of Kanshoso in "Sugawara-denju-tenarai-kagami" at the National Theater earned a reputation for being "godlike."
Japanese: 1981年、国立劇場の『菅原伝授手習鑑』の菅丞相が神品とまで絶賛される。
English: At this time his eyesight was gradually weakening due to glaucoma and he lost his eyesight in his last days, but he continued to act on the stage until the last day of his life.
Japanese: 同時に、このころから緑内障のために徐々に視力が衰え、最晩年には失明状態に陥ったが、生涯舞台に立ちつづけた。
English: His final role was that of Masakiyo SATO in "Hachijinnokami-mamorijiro, Gozabune-no-dan," which he performed in an all-cast performance series at Minami-za in Kyoto in December 1993; he died in Kyoto on March 26, 1994.
Japanese: 1993年12月の京都南座顔見世における『八陣守護城・御座船の段』の佐藤正清が最後の舞台となり、1994年3月26日、京都で死去。
English: When he was young, he learned the forms of kabuki and kyogen from excellent actors such as Koshiro MATSUMOTO VII, Chusha ICHIKAWA VII, Hazaemon ICHIMURA XV and Enjaku MINOKAWA II in addition to his father; this was an important asset not only for Nizaemon (XIII) but also for kabuki society as a whole.
Japanese: 若いときに父を始め、松本幸四郎(7代目)、七代目市川中車、市村羽左衛門(15代目)、實川延若(2代目)ら名優に歌舞伎狂言の型を教えられたが、これは、十三代目仁左衛門のみならず歌舞伎界にとって貴重な財産であった。
English: According to his third son, Nizaemon XV and that son's grandchild, Kotaro KATAOKA, Nizaemon XIII demonstrated various forms by which to teach them one kyogen story and then let each of them choose.
Japanese: 三男・十五代目仁左衛門やその孫片岡孝太郎の話では、十三代目仁左衛門は、一つの狂言を教えるのに色々な型を示し、あとは本人の選択に任せると言う方法であったという。
English: Prior to World War II he became known as a railroad fanatic; he acted as a director and honorary chairman of Tetsudo-tomo-no-kai (Railroad Fanatics' Association) and often attended railroad-related ceremonies held in the Kansai region, such as the presentation ceremonies of Blue Ribbon Ward (railroad) and the Osaka City Railroad's final day of operation.
Japanese: 戦前からの鉄道ファンとしても有名で、鉄道友の会の理事や名誉会長も勤め、ブルーリボン賞(鉄道)叙与式、大阪市電最終運転日など関西での鉄道関係のセレモニーには来賓としてしばしば顔を出した。
English: However, he was critical of the ultra-high-speed trains such as the shinkansen (a.k.a., the bullet train), lamenting that 'after the shinkansen was completed, the elegance of travel was lost.'
Japanese: ただし、新幹線のような超高速列車には批判的な見解を示し、「新幹線ができてから、旅に風情がなくなった」と嘆いていた。
English: His presence as a railroad fanatic in the classical entertainment society was equal to that of Eiji KINEYA among the nagauta society.
Japanese: 古典芸能界の鉄道愛好家として、長唄の杵屋栄二と並び称される存在だった。
English: He was also an excellent writer whose representative books include 'SUGAWARA to Chushingura (SUGAWARA and Chushingura),' 'Natsu-matsuri to Ise-ondo (summer festivals and Ise-ondo song),' 'Touzai-touzai (ladies and gentlemen, welcome),' 'Nizaemon KATAOKA XI,' 'Saga-dango (episodes of the Saga area),' 'Nizaemon-rakugaki (Nizaemon's graffiti),' 'Shibai-tan (episodes of stage acting)' and 'Wasurerareteiru-senzo-no-kuyo (forgotten memorial services for the ancestors).'
Japanese: 文才もあり、主な著書には「菅原と忠臣蔵」「夏祭と伊勢音頭」「とうざいとうざい」｢十一代目片岡仁左衛門」「嵯峨談語」「仁左衛門楽我記」「芝居譚」「忘れられている先祖の供養」などがある。
English: Hiraki is what a Nohgakushi (Noh actor) performs for the first time as a shite (a main actor of a Noh play) or a quasi shite role for a certain music, Kyogen (farce played during a Noh play cycle), or hayashi (musical accompaniment played on traditional Japanese instruments).
Japanese: 披き（ひらき）とは、能楽師が、ある曲のシテもしくはそれに準ずる役、狂言、囃子などをはじめて演ずること。
English: It is usually handled as a professional performance to show the result of an actor's training, and to be recognized by those close to him or her, that he or she has achieved a certain level of skill.
Japanese: 修行の成果を披露し、一定の技量を持つことを周囲に認めてもらうための興行として扱われることが多い。
English: In the case of a hiraki, sometimes the word 'hiraki' is added to the right of the name of the music in the program.
Japanese: 披きの場合には番組の曲名右肩に「披キ」と書きくわえられることもある。
English: By doing so, it indicates these meanings, first, the program is a presentation of the training result, and secondly, the actor is still lacking in experience and would like the audience to see the performance with the acknowledgment of that fact.
Japanese: そのことによって、第一に修行成った披露であることの意、第二にそれゆえ未熟であるがそのことを承知で見ていただきたいという意を示す。
English: While in training: Okina (Old Man) (Okina, Senzai), Shojo Midare (The Disorderly Tipster Sprite), Dojo-ji Temple, Shakkyo (Stone Bridge) (shite, rear tsure [side actor]), Mochizuki (The Full Moon)
Japanese: 修行中-翁（翁、千歳）、猩々乱、道成寺(能)、石橋（シテ、後ツレ）、望月(能)
English: Besides these, the first time performance of a shite-kata (main role of a Noh act) or a masked role is also given much weight, although they are not considered as 'hiraki.'
Japanese: このほか「披き」とはされないが、初シテ、初面（面のある役を初めてつとめる）も重く扱われる。
English: Since most of the hiraki of hayashi-kata are in common with those of shite-kata, only those that are not common listed here.
Japanese: 囃子方の披きについては大半がシテ方と共通するため、特にそれ以外のものだけを掲げた。
English: "Rajomon no oni" or "Rashomon no oni" is an ogre who was said to have lived at Rajo-mon Gate, the main gate of Heiankyo (the ancient capital of Japan in current Kyoto).
Japanese: 羅城門の鬼、羅生門の鬼（らしょうもんのおに）は、平安京の正門・羅城門に巣食っていたといわれる鬼。
English: After putting down Shuten Doji (an leader of a group of ogres, also bandits that roamed the region around Kyoto), MINAMOTO no Yorimitsu had a feast at his residence with his four loyal retainers and FUJIWARA no Yasumasa, then Hirai (or one of the four retainers, URABE no Suetake) started to say that there was an ogre at Rajo-mon Gate.
Japanese: 源頼光が酒呑童子を討伐した後、自分の屋敷で頼光四天王と藤原保昌とともに宴を催していたところ、平井（または四天王の1人・卜部季武）が、羅城門に鬼がいると言い出した。
English: One of the four retainers, WATANABE no Tsuna said it was irrational that there was an ogre at the main gate of the domain of the Emperor, and to determine if it was true or not, he rode a horse in full armor, with an ancestral sword and headed for Rajo-mon Gate alone, without any followers.
Japanese: 四天王の1人・渡辺綱は、王地の総門に鬼が住む謂れはないと言い、確かめるために鎧兜と先祖伝来の太刀で武装して馬に乗り、従者も従えずに1人で羅城門へ向かった。
English: When he got to Kujo-dori Street and saw Rajo-mon Gate ahead of him, strong wind stunned the horse.
Japanese: 九条通に出て羅城門が正面に見えてきた頃、急に激しい風に見舞われ、馬が動かなくなった。
English: Tsuna dismounted the horse and made his way toward Rajo-mon Gate, then he was grabbed his "kabuto" (helmet) by an ogre came from behind.
Japanese: 綱が馬から降りて羅城門へ向かうと、背後から現れた鬼に兜をつかまれた。
English: After Tsuna's sword and the ogre's steel stick heavily clashed, Tsuna finally slashed off an arm of the ogre.
Japanese: 綱の太刀と鬼の鉄杖が激しくぶつかり合った末、綱はついに鬼の片腕を斬り落とした。
English: The ogre shouted, 'I would watch for the chance and get it back', and said to have gone in the dark clouds which covered the sky.
Japanese: 鬼は「時節を待ちて、取り返すべし」と叫んで、空を覆う黒雲の彼方へ消えて行ったという。
English: In the tale of ogre at Ichijo Modori-bashi Bridge in the chapter, named "Tsurugi (sword)" of "Heike Monogatari (The Tales of the Taira family)", the scene Tsuna slashed off an arm of the ogre was set on Ichijo Modori-bashi Bridge, and after that, it is said that the ogre changed himself into Tsuna's nanny and took his arm away.
Japanese: 『平家物語』剣の巻にある一条戻橋の鬼の話では、綱が鬼の腕を斬り落とす場面の舞台は一条戻橋であり、この後に鬼が綱の乳母に化けて腕を奪い去るとある。
English: Yokyoku "Rashomon"is considered to have been created by transferring the set of th escene from Ichijo Modori-bashi Bridge to Rajo-mon Gate, based on the story of the battle of Tsuna and the ogre in "Heike Monogatari," and the story of the ogre's retaliation afterwards is in yokyoku "Ibaraki" which is a different story from "Rashomon".
Japanese: 謡曲『羅生門』は『平家物語』で綱と鬼との戦いまでの話をもとに、舞台を一条戻橋から羅城門に変えて創作されたものとされ、その後の鬼の報復の話は謡曲では『羅生門』とは別作品の『茨木』になっている。
English: This makes Rajomon no oni and Ibaraki Doji (an ogre who was Shuten Doji's follower) often being identified even though they were different ogres.
Japanese: このことから、別々の鬼である羅城門の鬼と茨木童子がしばしば同一視される。
English: The first Manzo NOMURA (1722-April 16, 1790): real name, Yasuhisa.
Japanese: 初代野村万蔵（享保8年〔1722年〕-寛政2年〔1790年〕3月3日）：本名・保尚（やすひさ）。
English: The second Manzo NOMURA (1765-October 3, 1823): real name, Shinatsune.
Japanese: 二代野村万蔵（明和2年〔1765年〕-文政6年〔1823年〕8月29日）：本名・品常（しなつね）。
English: The third Manzo MOMURA (April 12, 1796-April 13, 1865): real name, Naoteru.
Japanese: 三代野村万蔵（寛政8年〔1796年〕3月5日-慶應元年〔1865年〕3月18日）：本名・直英（なおてる）。
English: The fourth Manzo NOMURA (July 18, 1839-November 20, 1876): real name, Yoshichika.
Japanese: 四代野村万造（天保10年〔1839年〕6月8日-明治9年〔1876年〕11月20日）本名・義比（よしちか）。
English: After the Meiji Restoration, he gave up being a Kyogen actor, became a clerk at the Kanazawa Museum, and died a disappointed man.
Japanese: 明治維新後は道を捨てて金沢博物館の書算方（事務員）となり、失意のうちに没。
English: The fifth Manzo NOMURA (retirement name: the first Mansai NOMURA) (August 16, 1862-January 14, 1938): childhood name, Ryokichi.
Japanese: 五代野村万造（隠居名：初代野村萬斎）（文久2年〔1862年〕7月21日-昭和13年〔1938年〕1月14日）：幼名・良吉。
English: In 1893, he moved to Tokyo with the help of Yosaku NOMURA, who is in the head family of NOMURA.
Japanese: 明治16年（1893年）、野村家の本家に当たる野村与作を頼んで東京へ移住。
English: At first, he was isolated and worked as a clerk in the family registration section in a city hall for a living, but later wielded a big influence on the Kyogen world in Tokyo after his hard work.
Japanese: 当初は孤立し、生活のために市役所の戸籍係などを務めていたこともあったが、後に努力の甲斐あって東京の狂言界に大きな影響力を発揮するようになった。
English: The fifth Mannojo NOMURA (August 9, 1959-June 10, 2004): real name, Kosuke.
Japanese: 野村万之丞（五世野村万之丞）（昭和34年〔1959年〕8月9日-平成16年〔2004年〕6月10日）：本名・野村耕介。
English: In 1995, he succeeded to the head of the Manzo NOMURA family after his father and assumed the fifth Mannojo.
Japanese: 1995年、父より野村万蔵家当主を引き継ぐとともに五世万之丞を襲名。
English: Besides the work as the head of the Manzo family, he showed his ability to produce events and promoted "TMD Network" (project organization) as a comprehensive artist.
Japanese: 万蔵家当主としての活躍の他に、イベントのプロデューサー才能を発揮し、総合芸術家として『TMDネットワーク』を主催。
English: He was also active in multimedia related work, and was involved in producing the contents of CD-ROMs for the Agency for Cultural Affairs and DVDs for the Ministry of Economy, Trade and Industry.
Japanese: またマルチメディア関連の活動にも積極的で、文化庁のCD-ROM、経済産業省のDVD-ROMコンテンツ制作に携わった。
English: Tomesode is a type of Japanese traditional clothes and is a formal dress of the highest rank worn by married women.
Japanese: 留袖（とめそで）は、和服の一つで、既婚女性が着用する最も格の高い礼装である。
English: In the rank of kimono, tomesode is the no. 1 formal dress and is equivalent to the evening dress of the West.
Japanese: 着物の格においては第一礼装になり、西洋のイヴニングドレスに相当するものである。
English: Originally, there was a custom according to which the long sleeves of furisode, which were worn by young women, were held up after marriage and the miyatsuguchi (small opening in the side of some traditional Japanese clothing) was sewed up; these types of kimono were collectively called "tomesode" regardless of the patterns.
Japanese: 元々、江戸時代には若年者が着用する振袖の長い袖を結婚後に留めて短くし、身八口を縫い留める習慣があり、これらの着物を柄いきに関わらず全て「留袖」といっていた。
English: From this custom originated the name "tomesode" itself, which eventually came to have the meaning of "formal dress for married women".
Japanese: ここから「留袖」と言う名称自体がやがて「既婚女性の礼装」と言う意味に転じていった。
English: The type of kimono called "tomesode" today refers to the kimono having patterns woven only in the lower body part of the kimono called "edozuma", which were worn by geisha (Japanese professional female entertainer at drinking party) at first and became popular among women in Edo.
Japanese: 現在「留袖」と言われているのは、化政文化華やかな頃、江戸で芸者から流行が広がった江戸褄（えどづま）と呼ばれる下半身部にのみ模様の入った着物を指す。
English: Also, hakkake (inside cloth used around cuff and hem) (susomawashi (lining at the bottom of a kimono)) is called "mukujitate" and is tailored by always using the same cloth as the outer surface of the kimono.
Japanese: また八掛（裾回し）は「無垢仕立て」と言って必ず表と同じ生地を用いて仕立てられている。
English: "Black-tomesode", which is often worn by a married woman at a wedding ceremony and the like who is a relative of the couple getting married, uses crepe which is black in ground color or has no patterns, such as Hama-chirimen crepe and Tango-chirimen crepe, with patterns woven in on sleeves and having a total of five family crests on the back, both back sleeves, and front.
Japanese: 結婚式などに既婚の親族女性が身につけることが多い「黒留袖」は地色が黒、濱縮緬や丹後縮緬などの地模様のない縮緬を用い、裾に模様が入っており背中・両後ろ袖・前胸元に合計五つの家紋が入る。
English: Tomesode of colors other than black is called "iro-tomesode", and the number of family crests is not necessarily five depending on the purpose of wearing the kimono and may be fewer in number, such as triple family crest or single family crest.
Japanese: 黒以外のものは「色留袖」と呼ばれ、その着用目的などにより五つに限らず三つ紋・一つ紋などの数が少ないものもある。
English: Also, sometimes the fabric used may be not only Mumon-chirimen crepe (having no crest) but also Monisho-chirimen crepe, with ground patterns woven in, or rinzu (a Japanese silk satin damask) or satin.
Japanese: 生地も無紋縮緬だけではなく地模様が織り出された紋意匠縮緬や綸子や朱子地を用いる場合もある。
English: Although tomesode was originally worn by a married woman, recently an unmarried woman may wear it as a formal dress.
Japanese: 留袖は本来既婚女性のものであるが、近年では未婚女性が礼装として着ることがある。
English: This custom came about because of some instances in which a relatively elderly unmarried woman may be hesitant to wear furisode; in such instances, she would normally wear homongi (semi-formal kimono for women), but tomesode came to be worn in its place in order to give relatively modest appearance and the appearance of composure appropriate for her age.
Japanese: これは元々比較的高齢の未婚女性が振袖を着るのがためらわる場合など、こういうときは訪問着を着用するところを比較的控えなものにするため、年齢相応の落ち着きを表わすためということで未婚女性に着られるようになったという経緯がある。
English: Furthermore, in the Imperial Court where black is regarded as the color of mourning, black-tomesode is not used but iro-tomesode is used instead.
Japanese: また、宮中では黒は喪の色とされているため黒留袖は用いられず色留袖が用いられている。
English: When tomesode is worn by someone of the Imperial family or when an ordinary person pays a visit to the Imperial Palace for bestowal of an order and the like, it is customary to wear iro-tomesode.
Japanese: 皇族の方が留袖をお召しの場合や、一般の者でも叙勲などで宮中に参内する場合は色留袖を着用するのが慣例になっている。
English: Iromuji is a type of traditional clothes in Japan which is a plain kimono of color other than black with no patterns woven in.
Japanese: 色無地（いろむじ）とは、日本の和服の中で柄のない黒以外の無地の着物のことをいう。
English: By adding a family crest, it may also be worn as a formal dress like homongi (semi-formal kimono for women) and the like, and without family crest it can be worn as a casual dress, and furthermore if a black obi (kimono sash) is worn, it can be used as an informal mourning dress; as such, iromuji is a useful kimono that can be worn at any time, place, or opportunity.
Japanese: 家紋を入れることで訪問着などと同様に礼装として着ることもでき、家紋がなければ普段着として着ることができるうえ、黒の帯をすることで略式の喪服とすることも可能であるというTPOを選ばない便利な着物である。
English: In the Kanto region, the type of kimono with the pattern called "komon" (kimono with fine pattern) which is used in the kamishimo (samurai costume, old ceremonial costume) may be used for similar purposes, but in the Kansai region, Edo-komon (fine patterns utilized in Edo) may sometimes be treated as "komon" rather than iromuji.
Japanese: 関東地方においては「小紋」という武士の裃（かみしも）に使われている柄も、これと同様の用途で用いることができるが、関西方面においては江戸小紋は色無地ではなく「小紋」の位置づけがなされている場合もある。
English: In sado (tea ceremony), with the meaning of putting off showiness entirely and avoiding clashes with the patterns on tools, it is recommended to wear iromuji during tea ceremonies.
Japanese: 茶道では万事派手を退け、道具の柄との喧嘩を避ける意味から、茶事では色無地着用が推奨される。
English: Obiage is a type of small tool used when wearing kimono, and it wraps around obimakura (a small oval cushion to keep the obi (kimono sash) knot in place).
Japanese: 帯揚げ（おびあげ）は、着物の着付けに用いる小道具の一種で、帯枕を包むもの。
English: When Fukagawa geisha (geisha in Fukagawa, Edo (present-day Tokyo)) devised "taikomusubi" (a puffed-out bow of an obi), they also devised obimakura; it is considered that obiage was invented in order to hide the obimakura and to provide support for the obi which became heavier due to obimakura.
Japanese: 深川芸者が「太鼓結び」を発案したとき、帯の形を整えるために帯枕も発案されたが、この帯枕を隠し、かつ重くなった帯を支えるために発明されたのが帯揚げではないかと考えられている。
English: Commercialization of obiage was even later in history, probably around 1907 as can be speculated from newspaper advertisement and the like.
Japanese: 帯揚げが商品化されたのは更に時代が下がり、新聞広告などから見て明治40年頃であったと思われる。
English: According to advertisements by Mitsukoshi and Shirakiya department stores, it seems that the market price of one obiage was about 1.50 yen.
Japanese: ちなみに三越、白木屋百貨店の広告を見ると、当時の価格は帯揚げ1本1円50銭程度が相場だったらしい。
English: Also, it is said that only unmarried women can tuck in obiage in a manner which forms the character 入 when viewed from front (called "irikumi").
Japanese: また正面を見たときに「入」と言う字に見えるように帯揚げを納める方法（入り組）は独身の女性しかできないといわれている。
English: The obijime is one of the essential items when one wears kimono; it's a string used to hold a kimono sash in place.
Japanese: 帯締め（おびじめ）は、着物の着付けをするために必要な小道具の一つで、帯を固定するのに用いる紐。
English: Kabuki actors who were popular around that time tied strings on their kimono sashes in order to prevent their costumes from coming undone, and these strings developed into obijime.
Japanese: 当時人気であった歌舞伎役者が衣裳の着崩れを防止する為に、帯の上に締めたヒモが帯締めのルーツである。
English: These strings became popular among women who wore them by copying kabuki actors, and since they were very useful they came to be established as "obijime" among the common people as well.
Japanese: それを真似て装った女性らに流行し、その便利さから「帯締め」として庶民にも定着した。
English: Generally, there are three kinds of obijime cords: "round cord," "square cord" and "flat cord."
Japanese: 帯締め紐には大きく三種類あり、「丸打ち紐」、「角打ち紐」、「平打ち紐」に分けられる。
English: In the beginning there was only the round cord, but the others have emerged since the Meiji period.
Japanese: 当初は丸打ち紐のみであったが、明治時代以降、時代をおってその種類が増えた。
English: Similarly, the length of the cord, which was short during the Edo period, gradually became longer, and after the war products that were quite long began to appear.
Japanese: 同じく江戸時代には短かった紐の長さも、徐々に長さを持つようになり、戦後からは随分と長い製品もあらわれるようになった。
English: The technique of braiding a dozen threads using various patterns creates different rhythms depending on the color and thickness of the threads, resulting in a wide variety of expressions.
Japanese: 数十本の糸を様々な組み方で織る手法は、糸の色彩、糸の太細でそのリズムを変え、多彩な表情をみせる。
English: The thread material is mainly died silken thread; finishing a single obijime cord requires great skill and concentration.
Japanese: 糸の素材は主に染色された絹糸であり、帯締め紐一本を仕上げるのにはかなりの熟練技術と集中力が要求される。
English: Some obijime have a modern style, and obijime cords made by mixing glass beads into the threads during the braiding process glitter beautifully and attract attention; such cords are favored as items that convey one's tastes in dressing herself.
Japanese: 現代的な帯締めもあり、組みあげの際に糸にガラスビーズを交えた帯締め紐はきらびやかな輝きで注目され、趣味製の強い装いのアイテムとして好まれる。
English: Experts of braided cords consist primarily of traditional craftsmen, but the number continues to decrease every year; recently, the shortage of successors has become a problem in various regions of Japan.
Japanese: 組み紐の専門家は伝統工芸士を中心に構成されているが、その人数は年々減少しており、最近は日本各地で後継者不足に悩まされている。
English: The obijime, as one of the kimono cultures that have been accumulated over a long period of time in Japan - a land of four seasons - can be largely categorized into the obijime cords that are woven in the specification for summer season and the obijime cords that have the specification for the three seasons of spring, autumn and winter.
Japanese: 四季のある日本で、永々と培われた着物文化のひとつである帯締めには、夏の季節の仕様の織り方の帯締め紐と、春、秋、冬のスリーシーズンの仕様の紐に大きく分けられる。
English: In recent years, due to the development of air-conditioning units, the use of beaded obijime has risen, irrespective of the season.
Japanese: 近年では、ビーズ帯締めは空調機器の発達により、季節を問わず利用されることも増えてきている。
English: Furthermore, although the obijime was not usually employed when wearing yukata, in recent years more people have come to wear obijime with yukata.
Japanese: また、浴衣には通常用いなかった帯締めであるがここ数年は浴衣にも帯締めを利用する着こなしが増えている。
English: The basic method of use is to pass it from the back of a puffed-out bow in the kimono sash (beneath the ring made with the lappet of the bow) toward the front, and then firmly tie a "komamusubi" knot (a tight knot) or the like at the front.
Japanese: 基本的な使い方は、帯を結んだ「お太鼓結び」の背中の部分（お太鼓の垂れで作った輪の下）に通して前へ渡し、帯正面に「駒結び」などの結び方で固く結ぶ。
English: The obijime is worn in the way of drawing a single line over the kimono sash, but the position of the string when viewed from the front differs according to the age and manner of the person wearing the kimono.
Japanese: 帯の上に一本線が渡るように締めるが、正面から見た紐の高さは、年齢や着こなしによって整える位置を変える。