nntsuzu/KFTT huggingface dataset:
English: The background is that this was painted at the time part of the city was being reconstructed after the Onin War when the Gion-e (Gion Festival) was stopped and the festival was later resumed in 1500.
Japanese: この時期に描かれた背景として、応仁の乱で中断していた祇園会が1500年に復活したこと（都市復興）との関連性も考えられる。
English: The pictures produced in the 16th century are called early Rakuchu rakugai zu, and characteristically the imperial palace, the bakufu (Japanese feudal government headed by a shogun), and the Hosokawa family residences were largely painted.
Japanese: 16世紀に制作されたものを初期洛中洛外図と呼び、御所、幕府、細川邸などが大きく描かれる。
English: As it became a possession of the Prince House of Sanjo to the Machida family after the Meiji period, it is called the Sanjo version or Machida version.
Japanese: 明治以降、三条公爵家から町田家の所有になったため、三条本あるいは町田本ともいう。
English: It is the oldest among the now existing Rakuchu rakugai zu, and it is the painted scenery of Kyoto during the 1520s, said to be a product of a Kano school painter, attributed to Motonobu KANO.
Japanese: 現存する中では最古で、京都の景観は1520年代、狩野派の絵師（狩野元信？）の作といわれる。
English: It is a copy produced in Edo period, and said to be a reproductive art of the original which Eitoku KANO painted.
Japanese: 江戸時代に制作された模本で、狩野永徳が描いた原図を写したものと伝えられる。
English: It was held by the Uesugi Family, the lord of the Yonezawa Domain, and it is said to be one of the best masterpieces of Rakuchu rakugai zu, and is designated as a National Treasure.
Japanese: 米沢藩主上杉家に伝わったもので、洛中洛外図の中でも傑作とされ、国宝に指定されている。
English: It is said that it was painted by Eitoku KANO, and Nobunaga ODA gave it as a gift to Kenshin UESUGI in 1574 (Uesugi Nenpu (Uesugi's chronological record)).
Japanese: 狩野永徳が描き、1574年（天正2年）に織田信長が上杉謙信に贈ったとされる（上杉年譜）。
English: There were many discussions assessing the age it was produced based upon the painted scenery, Akira IMATANI specified the year of the scenery as 1547, and denied that it is not a work of Eitoku ("Kyoto, in 1547").
Japanese: 描かれた景観から制作年代について様々な議論が行われてきたが、今谷明は景観年代を1547年と限定し、永徳筆であることを否定した（『京都・一五四七年』）。
English: Imatani's assertion impacted art historians, however, later, Katsuya SETA advanced the year of the scenery and he presumed the one who ordered to paint it was Yoshiteru ASHIKAGA.
Japanese: 今谷説は美術史家にも衝撃を与えたが、その後、瀬田勝哉は景観年代を下げ、注文主を足利義輝と推定。
English: Further, Hideo KURODA advances the year of the scenery painted as being in or after 1561, and he showed a historical record and specified the completion of the painting was 1565 ("Nazotoki Rakuchu Rakugaizu" (solving the mystery of Scenes In and Around Kyoto)).
Japanese: さらに黒田日出男は景観年代を1561年（永禄4年）以後としたうえで、作画完了は1565年（永禄8年）とする史料を示した（『謎解き洛中洛外図』）。
English: In the past, it had been thought that this picture was ordered to be painted by Nobunaga to Eitoku, today, the widely accepted assertion is that one who ordered the folding screen is thought to be Yoshiteru ASHIKAGA, and the picture was completed in October 1565 after the death of Yoshiteru, and Nobunaga obtained it later and gave it away to Kenshin UESUGI in 1574.
Japanese: 従来は、信長が永徳に命じて描かせたものと考えられていたが、現在は屏風の注文主を足利義輝とし、義輝死後の1565年（永禄8年）9月に完成、その後信長が入手し、1574年に上杉謙信に贈ったものとする解釈が有力である。
English: Because the age of the scenery in the picture is not necessarily connected directly to the age of completion, and there is a possibility that the picture was painted based on drafts, and the seal 'Kuninobu,' the Shubun Enkaku nai Tsubogata In (pot-shaped seal in a round frame with shunbun style (shunbun means seals carved around the characters, leaving red characters on the paper with white background)), which is put on the picture is of the highest credibility among seals Eitoku held, the art historians now regard it is the genuine Eitoku's.
Japanese: 画面の景観年代は必ずしも制作年代に直結せず、粉本をもとに描いた可能性があること、画面に捺される「州信」の朱文円廓内壺形印は、永徳所用印のうちもっとも信頼度の高いものであること等により、美術史家たちは本作を永徳の真筆とみなしている。
English: There is an opinion that the work was done by Shoei KANO (father of Eitoku) and completion is thought to be around the same as that of the Uesugi version.
Japanese: 狩野松栄（永徳の父）の作という説もあり、年代は上杉本の前後と考えられている。
English: Many Rakuchu rakugai zu were painted by the 19th century and there is said to be about 100.
Japanese: 19世紀まで数多くの洛中洛外図が描かれており、約100の作品があるという。
English: On the left wing is Nijo-jo Castle (of the Tokugawa Clan), and, in contrast, on the right is the Great Buddha hall of Hoko-ji Temple (of the Toyotomi clan).
Japanese: 左隻に二条城（徳川）、右隻に方広寺大仏殿（豊臣）を対比的に描いている。
English: The town area is largely located at the center of the picture, and the mode of life in the city such as Kabuki (traditional drama performed by male actors) play sheds and prostitution houses, and the lives of common folks are lively depicted and this picture is very unique among Rakuchu rakugai zu.
Japanese: 中心に大きく市街地を置き、歌舞伎小屋や遊女屋などの都市風俗や、庶民の生活が生き生きと描いており、洛中洛外図の中でも個性的である。
English: One of the characteristics of the Rakuchu rakugai zu painted during the Edo period is that a delegation from Korea is depicted in some of them.
Japanese: また、朝鮮通信使が描かれているものがあることも江戸期の洛中洛外図の特徴の一つとして挙げることが出来る。
English: About ten works are known today, of which representatives are follows; the Imaimachi version (private property in Nara Prefecture, pair of six-panel folding screens in color painting on gold-foil paper), Shugo family version (private property in Toyama Prefecture, pair of six-panel folding screens in color painting on gold-foil paper), and one possessed by the Museum of Fine Arts, in Boston in the United States, which is purportedly old stock of the Kishu Tokugawa family.
Japanese: １０点ほどが知られており、代表的なものとして今井町本（奈良・個人蔵　六曲一双金地着色）、守護家本（富山・個人蔵　六曲一双金地着色）、紀州徳川家旧蔵とされる米・ボストン美術館のものなどがある。
English: It is said that Eitoku KANO painted the 'Azuchi-jo Castle town' on orders of Nobunaga, which was a gift to the Vatican.
Japanese: 狩野永徳が信長の依頼で「安土城下図」を描き、ヴァチカンに贈られたという。
English: There is the 'Edo scenes folding screens' depicting scenes of Edo painted in the early Edo period (a possession of the National Museum of Japanese History).
Japanese: 江戸時代初期に江戸を描いた「江戸図屏風」もある（国立歴史民俗博物館所蔵）。
English: However, while sado generally means art of maccha (green powdered tea) tea ceremony which uses maccha, sencha-do tea service which uses tea leaves such as green tea leaves (of middle grade) and gyokuro leaves (refined green tea) and takes the way to serve tea by pouring hot water into kyusu (small teapot) where tea leaves are placed, is regarded as something different.
Japanese: ただし、一般的には茶道は抹茶を用いる抹茶道を指すことから、急須等を用いて煎茶や玉露などの茶葉に湯を注いで飲む形式を採る煎茶道は、茶道とは別のものとして捉えられている。
English: The founder of sencha-do in Japan is said to be INGEN Ryuki (Yinyuan Longqi) who established one of the Zen sects, Obaku sect in the early Edo period.
Japanese: 日本における煎茶道の開祖は、江戸時代初期に禅宗の一つである黄檗宗を開いた隠元隆琦とされている。
English: Thus, the head office of the Zen nihon senchado renmei (National Japanese Sencha Association) is placed in Obakuzan Manpuku-ji Temple in Kyoto, and it became a custom for the chairman of the association to double as the chief abbot of the Manpuku-ji Temple.
Japanese: このことから、現在も全日本煎茶道連盟の事務局は京都の黄檗山萬福寺内に置かれ、同連盟の会長は萬福寺の管長が兼務することが慣わしとなっている。
English: In addition to the fact that there were adverse sentiments against sado that advanced its formalization at the time, as sencha itself was one of the newest Chinese cultures then, so-called "sencha shumi" (sencha preference) rapidly prevailed among men of literature in style when they did not care much about the form and rules of behavior and exchanged conversation of rectitude over a cup of sencha.
Japanese: この頃既に茶道の世界において形式化が進みつつあったことへの反発に加え、煎茶自体が当時最新の中国文化であったことなどから、形式にとらわれずに煎茶を飲みながら清談を交わすいわゆる「煎茶趣味」が文人の間で急速に広まった。
English: During the middle of the Edo period, the world of sencha shumi which, at first, had not progressed beyond mimicking Chinese culture, began to show its own style led by Baisao, and it spread widely to the upper class mainly in Edo, Kyoto, and Osaka.
Japanese: 江戸中期になると売茶翁により、それまで中国文化の模倣の域を出なかった煎茶趣味の世界に独自の方向が示され、さらに煎茶は江戸や京都・大坂を中心に上流階級に広く普及した。
English: In this movement, the "Sosho school" was founded and they added a certain level of form and manners by modeling the established sado to the purpose of sencha-do pursuing how to better enjoy the taste of tea.
Japanese: この動きの中で、主に「より美味しいお茶を味わうため」の技術を追求する目的に加え茶道の流儀などを参考とし、一定の形式や礼法を定めた「宗匠派」と呼ばれる一派も生まれる。
English: Later in the tide of "civilization and enlightenment" during the Meiji and Taisho eras, as western culture became more popular, sencha-do which derived from Chinese culture was obliged to fall off temporarily.
Japanese: その後明治・大正期の文明開化の流れの中で西洋文化がもてはやされたことから、中国文化に由来する煎茶道は一時衰退を余儀なくされる。
English: However, during the Showa era, a new movement to revive sencha-do grew everywhere in the country, and in 1956, Zen nihon senchado renmei was founded.
Japanese: が、昭和に入り煎茶道を復興しようとする動きが各地で盛んとなり、1956年には全日本煎茶道連盟が設立される。
English: Sencha-do was at it's peak in the '60s to '70s, however, in accordance with the popularization of sencha, the interests of people waned and the activity currently reached a plateau.
Japanese: 1960～1970年代には煎茶道は一時隆盛を迎えるが、近年煎茶の大衆化が進むにつれ煎茶道への関心は薄れてきており、現在動きは停滞している状況である。
English: As of 2008, 39 schools became members of Zen nihon senchado renmei, and it seems that there are many small schools which do not belong to the renmei.
Japanese: 2008年現在全日本煎茶道連盟には39の流派が加盟しているほか、連盟に非加盟の小流派も多数存在する模様。
English: Not like sado in which the so-called Sansenke (three houses of tea ceremony or Omotesenke, Urasenke, and Mushakojisenke) occupied the dominant position, the many small schools are scattered in sencha-do and this trend continues.
Japanese: いわゆる三千家が支配的な地位を占める茶道と異なり、煎茶道においては多数の小流派が乱立している状態が続いている。
English: However, it is often seen that the same utensil has a different name depending upon the school.
Japanese: ただし実際には同じ道具であっても、流派によって呼称が全く異なる場合が多数見られる。
English: Vice versa in many cases, utensils that have the same name are completely different depending on the school, so careful attention should be paid to names.
Japanese: 逆に同じ名称ながら、流派によって実際には違う道具のことを指す場合も少なくないため、呼称には注意が必要である。
English: Manganji Togarashi was produced as a crossbreed of Fushimi Togarashi pepper and a large introduced specie of California Wonder pepper at Maizuru City at the end of the Taisho era, and it was named after the Manganji district where it was produced.
Japanese: 万願寺とうがらしとは大正末期に伏見とうがらしと、外国系大型とうがらしであるカリフォルニア・ワンダーの交雑種として舞鶴市の地で生まれ、同市内の万願寺地区で作られていたものでこの名が付いた。
English: Its characteristics are that flesh of fruit is large, thick, soft, and sweet with fewer seeds, and is easier to eat, and it is called the "king of peppers" due to its large size.
Japanese: 果肉は大きくて分厚く、柔らかく甘味があり、種が少なく食べやすい事が特徴で、その大きさから「とうがらしの王様」とも呼ばれている。
English: It is listed in the "Firstly certified vegetable items" designated by Kyoto Prefecture to increase and spread the appeal of "Traditional Kyo-yasai" widely throughout the country.
Japanese: 京都府が京都の伝統的な京野菜を指定し、広く京都をアピールするために定めている「京の伝統野菜」の指定第1号品目のひとつである。
English: While up until then, the kimono had large wrist openings to the full sleeve width and was called Osode, kosode has small wrist openings.
Japanese: それまでの着物が袖口が大きく袖丈一杯まで開いていたので大袖と言うのに対し、小袖は袖口が狭いという特徴がある。
English: Although until the early Heian period, hitoe (unlined garment) was used as an undergarment, hitoe became larger and did not work as an undergarment because of the rise of Japanese original national customs and manners and accompanied change of costume during and after the middle of the Heian period.
Japanese: 平安時代初期までは下着として単衣が使われたが、中期以降の国風文化興隆に伴う服飾の変化により、単は巨大化して下着としての用を為さなくなった。
English: Instead, it is thought that they used kimono with tubular style of sleeves clad by common folks as undergarment, that became the origin of kosode.
Japanese: その代わりに庶民の着ていた筒袖の着物を下着としたのが小袖の始まりではないかとされる。
English: It is said that the kosode clad by FUJIWARA no Motohira, stored in Konjiki-do (Golden Hall) of Chuson-ji Temple in Hiraizumi, Iwate Prefecture, is the existing oldest kosode left today.
Japanese: 岩手県平泉の中尊寺金色堂に納められていた藤原基衡着用の物が現存最古の小袖とされる。
English: From the late Heian period (insei period (during the period of the government by the retired Emperor)) to the early Kamakura period, an explosive booming of kosode had come among the court nobles, and to wear many kosodes woven with luxurious textile layering instead of simple uchikake (ordinary kimono) was prevailing, however, it was often prohibited by ordinance because it was too expensive.
Japanese: 平安後期（院政期）から鎌倉時代初期には貴族の間に爆発的な小袖ブームが訪れ、袿の代わりに豪華な織物で仕立てた小袖を何重にもまとうことが流行するが、余りにもお金がかかるためにしばしば禁止令が出される。
English: Due to the ban, kosode was treated as undergarment among the upper class such as court nobles and samurai by the Muromachi period.
Japanese: そのため、室町時代まで貴族や武士などの上層階級では小袖は下着の扱いのままであった。
English: When the time advanced to the late Muromachi period (the Sengoku Period (Period of Warring States)), because of the revolt of vassals against their lords and poor security, active kosode with smaller sleeves were adopted as formal outer wear of wives of samurais, and at the time of Shokuho (Oda-Toyotomi era), a type of gorgeous uchikake (a full length formal and elegant outer robe) style kosodes were made as was seen in the portrait of Lady Oichi no kata.
Japanese: 室町時代後期（戦国時代(日本)）になると、下克上や治安の低下などから、袖が小さく活動的な小袖が表着として武家の夫人の正装に採用されるようになり、織豊時代にはお市の方肖像画に見られるような豪華な打ち掛け型の小袖などが作られるようになった。
English: And the kamishimo which became a full dress uniform of samurai, the way to wear kosode outside of kamishimo became a permitted custom and kosode was upgraded to an outer garment.
Japanese: また、武士の礼装となった裃でも小袖を表に出す着方が通例となり、小袖は上着に昇格した。
English: After that, while due to class distinctions (warriors, farmers, artisans, and tradesmen in descending order of rank) set by Edo bakufu (Japanese feudal government headed by a shogun), the design of kosode was fixed among the upper class of samurai, richer townsmen in Kyoto, Osaka and Edo spent their surplus of the fruits of regained peaceful time on clothing, and elaborately crafted kosode were born.
Japanese: その後、江戸幕府による士農工商の身分制により武士などの上層階級では小袖の柄行きが固定化されてしまうが、京・大坂などの上方や江戸の富裕な町人は平和になった余力を衣類に向けるようになり手の込んだ小袖が誕生する。
English: However, the newly born kosode was regarded by the Edo bakufu as too luxurious a garment and often banned it.
Japanese: しかし、やはり華美に過ぎるとしてしばしば江戸幕府より禁令が出ている。
English: When the Edo period entered into the latter half, it became common among court nobles to wear kosode in situations other than for times of rituals, and sode (sleeves) of kosode became luxurious and larger in peaceful times and furisode (a long sleeved type of kimono) was newly born and name 'kosode((literally means small sleeves) itself were not suitable to the reality of kimono, and the name kosode fell into disuse.
Japanese: 江戸時代も後期を過ぎると公家の間でも儀式以外では小袖を着るのが通例となり、また、小袖自体の袖も平和な時代の中で華美になり巨大化して振袖が誕生、そのため「小袖」と言う名称自体が実態に合わなくなり使われなくなってしまった。
English: They were influenced by the Christian culture imported through Nanban-Boeki (trade with Southern Barbarians) and thus there are many bold and gaudy design kosodes.
Japanese: 南蛮貿易によるキリシタン文化の影響も受け、大胆で派手な柄行き・色使いの物が多い。
English: Perhaps reflecting the vibrant culture of the time, kosode full of embroidery and frequent use of tsujigahana-zome (dye of flower design) are characteristics of kosode of this type.
Japanese: 時代の活気を反映してか、刺繍を全体に巡らしたり、辻が花染を多用しているのも特徴である。
English: Typical kosode in this period can be seen in a memento of Kenshin UESUGI handed down to Yonezawa City, Yamagata Prefecture, and mementos of Ieyasu TOKUGAWA possessed by Toshogu Shrine on Mt. Kuno.
Japanese: この時代の代表作としては山形県米沢市に伝わる上杉謙信の遺品や久能山東照宮にある徳川家康の遺品があげられる。
English: A type of kosode prevailing during the Keicho era (from 1596 to 1614) and it is said that a typical Keicho kosode is patterned all over the cloth and the pattern became minute, however, the color tone used is darker than Momoyama kosode.
Japanese: 慶長年間に流行したタイプの小袖で、総柄であるが、模様が細かくなり、色調が桃山小袖に比べて暗いのが特徴とされる。
English: It is said the one depicted in the 'attributed to Yodo dono portrait' in possession of Nara Prefectural Museum of Art is a typical Keicho kosode.
Japanese: 奈良県立美術館にある「伝淀殿像」に描かれている物が代表的な慶長小袖とされる。
English: A type of kosode prevailing in the Kanbun era (from 1661 to 1672) includes a large streamlined and dyed pattern from shoulder to hem, and large blank space is left, and it is said a characteristic of Kanbun kosode is that letters are used as a pattern.
Japanese: 寛文年間に流行したタイプの小袖で、肩から裾の方に大胆に流れるような模様をとり余白が大きく、また文字を模様として使うのも特徴とされる。
English: From this type of kosode, the sodehaba (sleeve size) began to be tailored wider like today's kimono (before the Keicho era, shoulder width of the kosode was tailored larger and sodehaba was only a half of a shoulder width).
Japanese: この小袖から現在の和服のように袖幅を大きく仕立てるようになる（慶長以前は肩幅が大きく、袖幅は肩幅の半分しかなかった）。
English: It is said this fashion was made by Tofukumonin Masako, and a purveyor of Masako, 'Kariganeya' received a rush of orders to make a fortune.
Japanese: この流行を作ったのは東福門院とされ、和子の御用達だった「雁金屋」には注文が殺到して大儲けしたという。
English: Later, the Kariganeya turned out the Korin OGATAand Kanzan OGATA brothers who played a great role in the Genroku Culture.
Japanese: 後にこの雁金屋から元禄文化の重要な担い手だった尾形光琳、尾形乾山兄弟が誕生している。
English: A type of kosode prevailing in Genroku era (from 1688 to 1703) and it is said that the dispatcher of the fashion were townsmen of Kamigata (Kyoto and Osaka area).
Japanese: 元禄年間に流行したタイプの小袖で、流行の発信源は上方の町人であったとされる。
English: As aforementioned, common folks were gradually empowered as peace continued, some of them wore more gorgeous kimono than the bushi class, Edo bakufu shogunate tried vehemently to ban luxurious kimono one after another in order to fix class distinctions.
Japanese: 平和な時代が続き、庶民が次第に力を蓄え武士以上の豪奢な着物を着用するようになると、江戸幕府は士農工商身分確定のために躍起となって次々と禁令を発したのは先述の通りである。
English: Further, in the O-oku (the inner halls of Edo-jo Castle where the wife of the Shogun and her female servants reside), codes on women's costume, namely kimono became regulative in minute detail, and the patterns of kimono permitted to the class she belonged became fixed little by little.
Japanese: また、大奥においては事細かに婦人の着物を規定したため、次第に身分によって着用される柄が固定化していった。
English: There was prevalence of kosode even after the genroku era, they were not called 'something kosode' in the cultural history any longer.
Japanese: また元禄以後も小袖には流行があったが、文化史上「○○小袖」とは呼称しない。
English: As mentioned in the above, the Edo bakufu regulated the way kimono were worn in minute detail in the O-oku, and the regulations passed on to daimyo families (feudal lord families), and finally the dress codes of the whole samurai class became pursuant to the codes and conventions of the O-oku (in and after the middle of the Edo period).
Japanese: 先述のように江戸幕府は大奥での着物を事細かに規定し、それが大名家にも普及し、武士階級全体で大奥慣習に準じるようになっていった（江戸中期以降）。
English: In the beginning of the year, legal wife dresses her hair in osuberakasi style (a women's hair style in the court), and the legal wife of the shogun wears junihiote (a women's layered ceremonial robe) and the legal wife of daimyo wears keiko-shozoku keiko (a type of female formal dress in white kosode).
Japanese: 年始には正室はおすべらかしに髪を結い、将軍正室は十二単、大名家正室は袿袴装束をまとう
English: Where the provisions were detailed as above, there was almost no room for originality and ingenuity, thus the fashion in kimono was never born from among those from the bushi class.
Japanese: これほど規定が決まっていると創意工夫をこらす余地はほとんどなく、江戸時代中期以後、武士階級から着物の流行が生まれることは二度と無かった。
English: Though patterns are roughly demarcated to two types; one is yusoku-monyo (traditional design motifs, used either in single units or repeated to create patterns, based on designs from Heian courtly decorations) that are scattered over the whole of kimono between the embroidery of the beauty of nature, and another is that the motif are taken from traditional literature such as the Tale of Genji or scenery of a noh play called 'goshoge,' compared to the kimono of the court nobles and common folks as described later, it seems that the design lacks boldness and there is a tendency to avoid blank space.
Japanese: 文様は花鳥風月の刺繍の間に有職文様がまんべんなく全体に散らされている物、また源氏物語などの古典文学や能の風景から画題をとった「御所解」に大分されるが、後述する公家や庶民の着物に対して柄行きの大胆さにかけ、余白を嫌う傾向が挙げられる。
English: These complicated systems that disappeared after the collapse of the Edo bakufu and were never passed over to the former daimyo families who later became kazoku (the noble class).
Japanese: これらの複雑な制度は江戸幕府の崩壊により消滅し、その後華族となった大名家には引き継がれなかった。
English: The pattern design currently called 'chayatsuji' is a remainder of a kosode stipulated as 'a summer garment' for the samurai families.
Japanese: 現在「茶屋辻」といわれる文様は、この武家の小袖で「夏服」として定められた物が残ったものである。
English: As mentioned above, it is thought that the time kosode became common among the society of court nobles was around the time when Masako TOKUGAWA (Tofukumonin) was sent to the Imperial court.
Japanese: 公家社会で小袖が着用されるようになったのは先述のように徳川和子（東福門院）の入内の頃からと思われる。
English: After that, it is thought that dress codes regarding kosode were decided, however, the exact month and year is not clearly known.
Japanese: その後次第に着用のルールが定められたと考えられるが、その正確な年月ははっきりしない。
English: Basically, it was demarcated as 'kaidori,' a full length outer robe as winter wear, hitoe as spring and autumn wear or summer wear, and katabira as mid-summer wear.
Japanese: 基本的には冬服として「掻取（かいどり）」、合服・夏服として「単衣（ひとえ）」、盛夏服として「帷子（かたびら）」という区分があった。
English: Kaidori' is the same as so-called uchikake, and there were largely three types of kaidori: 'Kenpo Zome no Kaidori' (Kaidori of Kenpo dye), which is said that Kenpo YOSHIOKA who was also known as a swordsman of Kyoto invented (also called as kenpo for short), 'Moyo no kaidori' (patterned kaidori) which is patterned with embroidery and dye, and 'simple patterned kaidori.'
Japanese: 「掻取」はいわゆる打掛と同じ物で、京都の剣術家としても知られる吉岡憲房が発明したとされる「憲法染（けんぽうぞめ）の掻取」（略して「憲法」とも言われる）、刺繍や染めで模様の入った「模様の掻取」、「素模様の掻取」の大まかに3種があった。
English: Among these three, 'Kenpo Zome no Kaidori' which has a black background was treated as comparable formal attire with keiko shozoku, and sometimes they wore hakama (trousers) over kaidori.
Japanese: このうち、黒地である「憲法染の掻取」は袿袴装束に匹敵する正装として扱われ、掻取の上に袴を着用することもあった。
English: Aigi' (garment worn over an under-garment) worn under kaidori was stipulated to be a 'dark color' (thick red close to purple) for the aged and those younger 28-years old and those who are 29-years old to those under 40 shall wear scarlet crepe, and those on and over 40-years old shall be wear white habutae, a thin, soft, durable Japanese silk.
Japanese: 掻取の下に着用する「間着（あいぎ）」は28歳までは「濃色」（紫に近い濃い紅とされる）、29歳から40歳までは紅縮緬、40歳以上は白羽二重と規定されていた。
English: Hitoe' is very close to kimono today, however, there was no hemming and they wore it and it dragged.
Japanese: 「単衣」は現在の着物とよく似ているがお端折をつくらずに引きずって着用された。
English: There were two types of 'katabira': 'hosozome' (narrow dye) which was patterned with embroidery and dyes and 'jishiro' (white dyed) which is similar to yukata of today.
Japanese: 「帷子」は刺繍や染めで模様が入った「細染（ほそぞめ）」と浴衣によく似た「地白（じしろ）」の2種があった。
English: Its textile was not silk, but hemp (Nara sarashi, Nara bleach was often used) and has a hem like today's kimono.
Japanese: 素材は絹ではなく麻（奈良晒がよく使われた）で、現在の着物と同じようにお端折をつくって着用された。
English: Among the society of court nobles, kosode was just 'secondary' clothing and thus the dress codes are more relaxed than that of the samurai society.
Japanese: 公家社会では小袖はあくまで「2番手の衣装」だったため武家社会より規定は緩かった。
English: The character of the design is basically taken from Kacho-Fugetsu (beauty of nature: flower, birds, wind and moon, common Japanese motifs for art) and uses yusoku-monyo as juxtaposition pattern, or the kosode is patterned with embroidery and dyes all over the kimono, and has a similar atmosphere with Kanbun kosode.
Japanese: 柄行きは「花鳥風月」を基調としており、有職文様を飛び柄で入れたり、着物全体をつかって刺繍や染めで文様が入っており、寛文小袖に似た雰囲気がある…などの特徴があった。
English: Although these kosodes were gradually diminished due to the reactionary and westernization during the Meiji period, a part of them revived during the early Showa period in complying with Empress Teimei's wishes.
Japanese: これらの小袖は明治時代の復古化・西欧化のために徐々に廃止されたものの、貞明皇后の意向で昭和時代初期に一部復活した。
English: Today, only a few court ladies who served at the kashikodokoro (palace sanctuary) in the Imperial palace maintain this manner.
Japanese: 現在は宮中三殿の賢所に仕えるわずかな女官（掌典職）のみこの風俗を守っている。
English: In the meantime, kimono fashion of common people gradually took a direction to obscure part of the kimono such as linings and hems due to the spate of thrift orders by the Edo bakufu.
Japanese: 庶民の着物は江戸幕府のあい続く倹約令により、次第に裏地や裾など目立たない部分への贅沢に目が向けられるようになる。