nntsuzu/KFTT huggingface dataset:
English: The term is also said to be an abbreviation for "sansuiseki" or "sansuikeiseki"(landscape stone) which was held important as an ornament in tokonoma (an alcove in a traditional Japanese room where art or flowers are displayed), a reminder of landscape scenery at tea ceremonies and the like in ancient Japanese court-noble and samurai societies.
Japanese: また、古来、日本の公家社会・武家社会の茶席などで、床の間を飾る置物として、山水景を感じとれる石として重用された「山水石」もしくは「山水景石」が省略されたものであるという説もある。
English: Emperor Godaigo's beloved stone, which came from China and was given the name "Yume no Ukihashi", is in the possession of the Tokugawa Art Museum.
Japanese: 後醍醐天皇の愛石で中国から伝来した『夢の浮橋』が徳川美術館に収蔵されている。
English: Suiseki has still continued as a hobby of appreciating "bonseki" stones which represents landscape scenery on a tray, or placing natural stones in "bonkei" tray landscape, or viewing and collecting rocks of unusual shape.
Japanese: 盆の中に山水景観を表現する盆石、盆景の中に自然石を置くことや、奇石の収集・鑑賞趣味として現在に伝わっている。
English: In 1961, the Nippon Suiseki Association was established and its first exhibition was held at the Mitsukoshi department store.
Japanese: 1961年に日本水石協会が設立され、第1回展覧会が三越で開催された。
English: Stones for viewing are as follows: stones reminiscent of mountain rocks or rocks on the sea including Yamagata-ishi, Toyama-ishi, Iwagata-ishi and Taki-ishi (mentioned later); exotic figured stones including Kikuka-seki and Tora-ishi; funny shaped Sugata-ishi; stones of beautiful colors and so on.
Japanese: 鑑賞される石は例えば、山景や海上の岩の姿を連想できる、山形石、遠山石、岩潟石、滝石など（後述）や、菊花石や虎石などの模様の珍しい紋石や、形の面白い姿石、色彩の美しい石などである。
English: The localities of famous stones in Japan include Kamo-gawa River, Seta-gawa River, Ibi-gawa River and Saji-gawa River.
Japanese: 日本における名石の産地には加茂川、瀬田川、揖斐川、佐治川、などがある。
English: Tamari/Mizutamari: stones which have a dent so as to store water like a pond
Japanese: 溜まり/水溜まり：凹んだ部分を持ち、池のように水を溜めることができる石
English: Kirikane (literally, cut leaf), which is also called hosogane (literally thinly cut leaf), refers to a traditional technique of creating patterns by using brushes to bond several leaves of gold, silver or platinum together, which are then burnt together and cut into shapes such as narrow rectangles, triangles, diamonds, or circles.
Japanese: 截金・切金（きりかね）は、細金（ほそがね）とも呼ばれ、金箔・銀箔・プラチナ箔を数枚焼き合わせ、細い直線状に切ったり、三角形・菱形・丸型などの形に切った截箔（きりはく）を組み合わせ、筆と接着剤を用いて貼ることによって文様を表現する伝統技法である。
English: In other countries, 'Glass bowl with gold leaf' (Sandwich glass, unearthed in Alexandria and owned by the British Museum) around 300 to 250 BC has a plant pattern with the kirikane technique placed between the two layers of transparent glass.
Japanese: 海外の例として紀元前300-250年頃の「金箔入りガラス碗（サンドイッチ・グラス）」（大英博物館蔵、アレクサンドリア出土）があり、截金による植物文様を二層の透明ガラスの間に挟み込んだ作品がある。
English: In China, the kirikane technique is found in two statues of Bosatsu (bodhisattva) in Northern Qi period (550 to 577) (owned by Qingzhou Museum in Shandong Province): For one of them, it is used in the motif of a double-line kikkomon (hexagonal pattern) in which a tortoise is drawn, and the motif which two patterns of plant with three leaves are arranged one above the other in a vertically long kikkomon in its mosuso (hem of pants), and for the other, in the boundary line between green pattern with white circle and red pattern with white circle in its mo (long pleated skirts).
Japanese: 中国では北斉時代（550-577）の菩薩像２体（山東省・青州博物館蔵）に截金が見られ、一方は二重の亀甲文の中に亀を描いたものと、裳裾に縦長の亀甲文の中に３枚の葉をもった植物文を上下に重ねた文様に、もう一方は裳に緑と赤に白い丸文を描いた文様の区画の境界線に截金が使われている。
English: In the Korean peninsular, thin belt-like straight gold leaf for the kikkomon (hexagonal pattern) is confirmed on the red-colored (presumably, red-lacquered) surface of the wooden pillow for a princess unearthed from the tomb of King Muryeong in Sud Chungcheong in Baekje, in the early sixth century.
Japanese: 朝鮮半島では6世紀前半、百済の忠清南道武寧王陵出土の王妃木製頭枕に朱漆と思われる赤色に着色された表面に、幅をもたせて帯のように切られた線状の金箔による亀甲文様が施されているのが確認されている。
English: It is said that the technique was brought to Japan in the Asuka period, in the midst seventh century, together with Buddhist sculptures and Buddhist paintings from the Korean peninsular and continental China.
Japanese: 日本においては7世紀半ばの飛鳥時代に朝鮮半島や中国大陸より仏像彫刻や仏画とともに伝わったといわれる。
English: A tiny long lozenge-shaped gold leaf is used at the tips of petals of ukebana (a flower-like accessory) under the agarigamachi (the horizontal bar at the entrance) of shumiza (dais for a Buddhist statue) of Tamamushi-no-Zushi (literally, Beetle Shrine) owned by Horyu-ji Temple, which is considered as the oldest remaining kirikane-using product in Japan.
Japanese: 法隆寺所蔵玉虫厨子の須弥座上框下の請花花弁先端部分に小さな長菱形の金箔が施されており、これが国内に現存する最古の截金作品とされる。
English: In the Nara period, the kirikane technique in straight-line or was used for the decorations of the robes and Katchu (armors and helmets) of the Kanshitsu Shitenno ryuzo (dry lacquer standing statues of the four guardian kings) (national treasure) in Hokke-do Hall (also referred as Sangatsu-do) of Todai-ji Temple, and for the clothes' base pattern of Sozo Shitenno zo (molding statue of the four guardian kings) in Kaidan-do Hall of Todai-ji Temple.
Japanese: 奈良時代には東大寺法華堂（三月堂）の乾漆造四天王立像（国宝）の仏像の衣や甲冑の装飾、東大寺戒壇堂の塑造四天王像の着衣の地文に直線文と点綴文の截金が使用されている。
English: On the Shiragi-goto (Shiragi-style koto) called Kinpaku wanokusagata otorigata (literally, grass and big bird patterns using thin gold rings) in the Shosoin Treasures, patterns with the kirikane techniques, such as lozenges, pine leaves, grass flowers and a phoenix drawn using curves, and so on, can be seen.
Japanese: 正倉院正倉院宝物の新羅琴・金薄輪草形鳳形（しらぎごと・きんぱくわのくさがたおおとりがた）には菱、松葉、草花文や曲線で表現した鳳凰文などの截金文様を見ることができる。
English: For example, on the Butsu Nehan-zu (painting of Buddha nirvana) of Kongobu-ji Temple in Mt. Koya in the late Heian period, and on Kinkan Shutsugenzu (Rising from the Gold Coffin) owned by Tokyo National Museum, delicate patterns are drawn using the kirikane technique deftly.
Japanese: 平安時代後期の高野山金剛峰寺の仏涅槃図や東京国立博物館蔵の金棺出現図などの仏画に繊細な截金文様を駆使したものがある。
English: From these examples, it is known that the kirikane technique had developed dramatically corresponding to the prosperity of Buddhist art.
Japanese: これらの例から、仏教美術の隆盛と共に截金は飛躍的な発展を遂げたことが窺える。
English: However, from the Muromachi period to the Edo period, the patterns became fixed gradually, and in addition, patterns using kindei (gold paint), instead of kirikane, had become used widely.
Japanese: しかしながら、室町時代から江戸時代にかけては次第に形式化し、また金箔に代わり金泥による文様も普及した。
English: In the early-modern times and later, kirikane became a technique that was inherited among a limited number of persons under the support of Higashi (eastern) Hongan-ji Temple and Nishi (western) Hongan-ji Temple.
Japanese: 近世以降は東西両本願寺の庇護のもとで限られた人にのみ伝承される技になってしまった。
English: However, the persons making efforts to hand the technique down to later generations have appeared recently, and its value has been becoming recognized, though little by little.
Japanese: しかしながら、現代になりその技法を伝えようとする人々が現れ、徐々にではあるが認知されつつある。
English: Hereafter, how to inherit and develop the kirikane technique in Japan is a big problem.
Japanese: 今後は日本において截金の技術をどのように継承発展させていくかが大きな課題である。
English: Baitei SAITA (April 6, 1900 - June 1, 1981): In 1981
Japanese: 1981年認定齋田梅亭（さいたばいてい1900年4月6日-1981年6月1日）
English: Daizo NISHIDE (June 7, 1913 - July 8, 1995): In 1985
Japanese: 1985年認定西出大三（にしでだいぞう1913年6月7日-1995年7月8日）
English: Sayoko ERI (July 19, 1945 - October 3, 2007): In 2002
Japanese: 2002年認定江里佐代子（えりさよこ1945年7月19日-2007年10月3日）
English: A gold leaf from 4/10,000 to 7/10,000 millimeters thick, approximately 11 centimeters square is usually used.
Japanese: 金を1万分の4-7ミリメートルまで薄く延ばしたもので、通常大きさが3寸6分角（約11平方メートル）の箔が用いられる。
English: Two types of gold leaf, called entsuki (leaf which is cut individually and sandwiched between sheets of specially made paper, also referred as enzuke) and tachikiri (leaf which is cut all together after being put between sheets of paper to make stacks of over 1000) are sold.
Japanese: 縁付（えんつき・えんづけ）と断切（たちきり）の2種類販売されている。
English: Because humidity should be avoided for this material, the burning operation to make pieces of gold leaf stuck should be performed on fine days, avoiding rainy days and the rainy season.
Japanese: 湿気を嫌うので焼き合わせは好天の日を選び、雨の日や梅雨時は避けたほうがよい。
English: Therefore, though having been used in the Heian and Kamakura periods, this material is rarely used today.
Japanese: そのため、平安・鎌倉時代は使用されていたが現代ではあまり使用されない。
English: It can be used by burning together about two sheets of them, however, the operation requires higher temperature and longer duration than that of gold leaf.
Japanese: 焼き合わせは2枚程度であるが、金箔に比べかなり高い温度と長い時間を要する。
English: An iron is used when pieces of gold leaf are burnt to be stuck in a modern method, without using binchotan charcoal (high-grade charcoal produced from oak)
Japanese: 備長炭を使用しない現代的なやり方で、金箔の焼き合わせを行う場合に用いる。
English: An iron for industrial use, the type of not utilizing steam and with no temperature control, or the type with which the temperature continues increasing without emitting steam, is used.
Japanese: 工業用のアイロンでスチーム式でなく温度調節が利かないタイプ、つまり蒸気を放出せず温度が上昇し続けるものを使用する。
English: The irons for household with a temperature control function are not used for the following reasons: With the temperature of these irons being low, it takes much time to burn the leaves together, and if it seems to be done, the leaves cannot be jointed strong enough and may be peeled due to aging.
Japanese: 温度調節機が内蔵されている家庭用タイプのアイロンでは温度が低く焼き合わせに時間を要し、またうまくいったように見ても接合強度が弱いので経年変化とともに剥離する可能性があるため使用されない。
English: When an iron is used for burning the leaves together, the leaf may wrinkle or be torn when the iron is moved horizontally on the leaves while being heated.
Japanese: アイロンで金箔の焼き合わせをする際に左右に動かしながら加熱すると、金箔に皺が寄ったり破れることがある。
English: When burning the leaves together by iron, it is used for preventing the gold leaf from sticking to the iron.
Japanese: アイロンを用いて焼き合わせをする際、金箔がアイロンに付着しないようにするためのもの。
English: The thin paper called hakushi inserted between sheets of gold leaf by default can be used for this purpose.
Japanese: 金箔1枚1枚の間に箔紙という薄いものが購入時に挟まれているのでそれを使用する。
English: This charcoal is used for burning gold leaves together in a traditional method without iron.
Japanese: アイロンを使わず伝統的な方法で、金箔の焼き合わせを行う場合に用いる。
English: The charcoal produced from ubame oak is used preferably, which has higher density among binchotan charcoal and is said to keep the temperature constant for a longer time.
Japanese: 備長炭の中で密度が高く、温度を一定に保つ時間が長いとされる姥目樫が好んで用いられる。
English: Therefore, when binchotan charcoal is buried in ash completely, the charcoal fire can be retained for a long time.
Japanese: そのため、備長炭を完全に灰の中に埋めておけば長時間にわたって炭火が熾り続ける。
English: It is a leather-covered wooden board, on which a sheet of gold leaf is placed to be cut with a bamboo sword.
Japanese: 板の上に皮革を張ったもので、金箔を切る時はこの箔盤の上に置き、竹刀で切る。
English: However, although the blade portion is hard, it can be damaged on impact, disabling gold leaf to be cut with.
Japanese: しかしいくら硬いといっても衝撃を受ければ傷ができてしまい、金箔を切ることができなくなってしまう。
English: Because bamboo swords themselves are small, it is convenient to use a knife with a small blade, such as a knife for cutting seal patterns in particular, among carving knives.
Japanese: 竹刀自体が細いため彫刻刀の印刀など刃が比較的小さなものの方が便利である。
English: The animal fur to be used is not determined, but it is recommended to use a soft one that is easy to absorb water.
Japanese: 使用される動物の毛(動物)は決まってはいないが、柔らかく、水分の含みの良いものを使用するとよい。
English: This is an adhesive generated by dried and tatami-shaped funori, a seaweed, which is used by melting when pasting gold leaf.
Japanese: 海草のフノリを乾燥させて畳状にした接着剤で、金箔を貼るときに煮溶かして用いる。
English: This is an adhesive made of hides and bones of animals, and is dissolved by heat when used for pasting gold leaf.
Japanese: 動物の皮や骨から作られる接着剤で、金箔を貼るときに煮溶かして用いる。
English: There are the following glues: Sanzenbon nikawa glue (literally, 3000 glues [called in this way, because a unit of these glues consists of three thousand pieces of dry glues]), deer glue, pearl glue (these three kinds of glue are made from cattle: Deer glue is also made from cattle today, with only the name remaining), rabbit skin glue and Uonikawa glue (glue made from nibe, a fish).
Japanese: 三千本膠、鹿膠、パール膠（これら3種は牛から作られる、鹿膠は名前としての名残であって現在は鹿から作られているわけではない）兎膠、魚膠などがある。
English: Sanzenbon nikawa glue is prepared in the following way: First put into water so that the glue absorbs enough water, then dissolve the sodden glue slowly by immersion in hot water.
Japanese: 三千本膠の使用方法は煮る前に水にひたし十分に水分を含ませておいて、ふやけた膠を湯煎でゆっくりと溶かす。
English: When an electric stove is used, dissolve it on medium heat in 50 to 70 degree Celsius, not boil it.
Japanese: 電熱器にかける場合は50-70℃くらいの中火で、沸騰させないようにする。
English: In dissolving the glue, it is a standard to use water of 200 cc for a glue of 10 to 15 grams.
Japanese: 膠を溶く時の分量の目安は、水200ccに対して10-15gが適量である。
English: However, it is desirable to change the ratio depending on the temperature and humidity of the day.
Japanese: しかしながら、その日の温度や湿度によって各自調節することが望ましい。
English: Most of these patterns are a regular geometric repetition of a design of a natural phenomenon, plant, animal or daily necessity.
Japanese: 自然現象・植物・動物・日用品などを図案化し、規則正しく幾何学的に繰り返すことによって文様を表すことが多い。
English: There are also patterns generated by modifying basic patterns and those combining them.
Japanese: 基本となる文様を応用し変形させたものや、それぞれを組み合わせたものなどがある。
English: A pattern that one rectangular or lozenge leaf or four of them together are placed at several locations to be seen as hail is scattered.
Japanese: 正方形や菱形の截箔を一つ一つもしくは四つほど集合させて、それらを霰を散らしたかのように複数箇所に施す文様
English: A pattern that is said to express rising vapor, combining wavy line patterns relatively so that broad and narrow portions appear alternately.
Japanese: 水蒸気が立ち昇る様子を表すともいわれ、波状の文様を相対的に合わせ、膨らみと窄みを繰り返す文様
English: A pattern that depicts the light emitted from the sun, placing pieces of gold leaf, each with the shape of a narrow angle isosceles triangle, circularly with the narrow part placed towards the center of the circle.
Japanese: 太陽が放つ光を図案化したもので、細長い二等辺三角形の截箔を細い部分を中心に向けながら円状に施した文様
English: A round pattern that is used in the modern age, generating with pattern-generating tools.
Japanese: 現代になってから使用されるようになったもので、型抜きを使用して製作される丸い形の文様
English: Pieces of gold leaf seemingly intended for round shapes were found in the Heian or Kamakura periods, but they have many edges, not being complete round.
Japanese: 平安・鎌倉時代は丸く似せようとした截箔は見られるが、角が少なからず目立ち完全な円形ではなかった
English: A pattern that is named after it resembles a hemp leaf, placing six regular triangles within a regular hexagon, and connecting the center of each triangle to each of its three apexes in line.
Japanese: 麻の葉に似ることに由来し、正六角形の中に正三角形を六つ並べ、正三角形の中心と三つの頂点を結んだ文様
English: A pattern combining curved-line pieces of gold leaf, imitating stalks, and lozenge-shaped pieces of gold leaf, imitating grass leaves, to express intertwined plants, for example, ivies.
Japanese: 茎に見立てた曲線と草の葉に見立てた菱形の截箔を組み合わせ、蔓などの植物が絡み合う様子を表す文様
English: A pattern that expresses flowers by placing different-sized square, lozenge or round pieces of gold leaf collectively at a place.
Japanese: 複数の大きさの異なる四角、菱形、丸形などの形に切った截箔を一箇所に集合的に施して花を表現する文様
English: A pattern that resembles a leaf by combining two pairs of parallel lines, with each of the pairs in a different direction, or cutting a comparatively wide line crossly at two portions.
Japanese: 植物の葉に似ており、二方向の平行線を重ねるか、比較的太めの線を斜めに切れば製作できる文様
English: The modifications include the patterns by increasing the number of parallel lines, the lozenge patterns that include another lozenge pattern made of pieces of gold leaf inside, and tasuki bishi patterns (diamond patterns on cord used to tuck up the sleeves of a kimono).
Japanese: 応用パターンとして平行線を複数本にしたり、中に菱形の截箔を施した入れ子菱、襷菱などがある
English: A pattern that originates in that it resembles scales of fishes by arranging triangle pieces of gold leaf so that a same-sized triangle space is generated between adjacent triangle pieces of gold leaf.
Japanese: 魚の鱗に似ることに由来し、三角形の截箔を素地の部分が同じ大きさの三角形になるよう互い違い並べた文様
English: The modifications include the Bishamon Kikko pattern based on the pattern combining three hexagons which is found on the Katchu (armors and helmets) of Bishamonten (Vaisravana), and the komochi kikko (literally, child-bearing kikko) pattern in which a hexagonal pattern includes another small hexagonal pattern inside).
Japanese: 応用パターンとして亀甲を三つ組み合わせた毘沙門天の甲冑に見られる毘沙門亀甲、入れ子状にした子持亀甲などがある
English: A pattern by arranging square pieces of gold leaf so that a same-sized square space is generated between adjacent square pieces of gold leaf.
Japanese: 正方形の截箔を素地の部分も同じ大きさの正方形になるように互い違いに施した文様
English: A pattern that depicts mesh of baskets made weaving bamboo by arranging a triangle for each outside line of a hexagon.
Japanese: 竹で編んだ籠の網目を図案化したもので、六角形のそれぞれの辺に三角形が並んだ文様
English: The modifications include those in which a different number or width of vertical or horizontal lines is used, or slanting lattice patterns where either of the vertical or horizontal lines are slanted.
Japanese: 応用パターンとして縦縞と横筋の本数や太さを変えたりしたものや、斜めにした斜格子文などがある
English: A pattern by overlapped each quarter line of the same-sized circle, or by connecting four ellipses in circle and putting their inner line together alternately to form another circle in their extension.
Japanese: 同じ大きさの円(数学)の円周を四分の一ずつ重ねて繋いだ文様、または四つの楕円を円形につなぎ合わせ、楕円の内径線が延長線上で再び円形になるよう互い違いに組み合わされた文様
English: The modifications include flower shippo patterns where a lozenge or round piece of gold leaf is placed inside each shippo pattern element and yotsume (literally, four-eye) shippo patterns where lattice patterns and shippo patterns are combined.
Japanese: 応用パターンとして七宝の中に菱形や丸い截箔を施した花七宝や、格子文と組み合わせた四ツ目七宝などがある
English: Fundo is a tool for measuring weight with a balance, and this pattern is generated by connecting four curved lines alternately.
Japanese: 天秤で質量を測定するためのもので、曲線4本を互い違いに繋いで製作する文様
English: The modifications include connected 卍 patterns, modified 卍 patterns and the sayagata monyo patterns in which 卍 patterns are connected along inclined lines.
Japanese: 応用パターンとして卍繋ぎや卍崩し、卍を斜めに連ねた紗綾形文様などがある
English: A pattern that designs the accessories that nobles in India wove beads and precious metal and wore.
Japanese: インドの貴族が数珠や貴金属を編んで製作し身につけていた装身具を図案化した文様
English: A tool considered having been used for kirikane was found inside this Buddha statue, and is now kept in Kanagawa Prefectural Kanazawa Bunko Museum.
Japanese: 仏像の胎内から截金に使用されたと思われる道具が見つかっており、現在県立金沢文庫に保管されている
English: This is a Seiryo-ji Temple style Buddha statue, and a double circle pattern and Hosoge pattern are provided in the breast part of the robe and around the upper parts of both legs.
Japanese: 清涼寺式の仏像で、衣の胸と両肢上部あたりに二重の円と宝相華の文様が施されている
English: This is a Seiryo-ji temple style Buddha statue, and Kikko and lattice kirikane patterns are provided, being kept in a good state with no missing part.
Japanese: 清涼寺式の仏像で、亀甲や格子状の截金文様が施され、剥落も少なく保存状態が良い
English: This Buddhist statue is rare in the following meanings: On the statue, hail patterns, kikko patterns and shippo patterns are provided using gold leaf, hail patterns using square silver leaf, and in addition, leaf combining gold leaf and silver leaf is used.
Japanese: 金箔の霰文・亀甲文・七宝文、銀箔の正方形の霰文が施され、さらに金箔と銀箔のあわせ箔が用いられる希少な仏像である
English: A taste in the late Kamakura period is seen clearly on this statue in the following way: An inter-twined asa no ha pattern is provided on the front shield of the armor, colors are provided by thickly adding kindei on the surface, and copper fittings are also used.
Japanese: 甲の前楯に麻の葉繋ぎ文が施され、金泥盛り上げ彩色や銅製金具などと相まって鎌倉後期の趣向がよく現れている
English: Standing statues of the Four Devas (now, only those of Jikokuten [Dhrtarastra] and Zochoten [Virudhaka] are placed there) in the main hall: Sculpted in the yosegi-zukuri in the Heian period, designated as a national treasure
Japanese: 本堂/四天王立像（現在は持国天・増長天のみ安置）/寄木造/平安時代/国宝
English: This statue characterizes distinctively in its hair, mudra and robe styles, and others, and is known as the original form of the Shaka Nyorai statue in the Seiryo-ji Temple style.
Japanese: 髪型・印相・衣相やその他技法に大きな特徴があり、清凉寺式釈迦如来像の祖形として知られている。
English: Colors are used for the hair, eyebrows, eyes, lips and beards, and on the base of the whole robe, the tachiwaku, asa no ha, slanting lattice, uroko, karakusa, kikko, yotsume-shippo and danka patterns, and so on, in the kirikane technique provide a glamorous texture.
Japanese: 髪、眉、目、唇、髭に僅かに彩色を施し、衣の部分の素地上には全体に亘り立涌、麻の葉、斜格子、鱗、唐草、亀甲、四ツ目七宝、団花などの截金文様が施され華やかな風合いを放っている。
English: Having been kept in zushi (a cupboard-like case with double doors in which an image of the Buddha, a sutra, or some other revered object is kept at a temple), a good state is maintained without almost any portion missing.
Japanese: 厨子の中で保管されていたため保存状態が良好で、剥落が殆ど見られない。
English: Statues of Nikko Bosatsu and Gekko Bosatsu as kyoji (attendant figures) and statues of Seven Buddha of healing are placed in its halo, and statue of 12 protective deities as kenzoku (disciples or followers of Buddha) are in the pedestal.
Japanese: 光背に脇侍の日光・月光菩薩像と七仏薬師像、台座に眷属の十二神将像を表す。
English: Connected yotsume shippo patterns and tachiwaku patters and so on are provided in the kirikane technique on the finished bases of the robe, the halo, and the pedestal of the statue of Yakushi.
Japanese: 薬師像の衣、光背、台座等には素地仕上げの上に四ツ目七宝繋ぎ文や立涌文などの截金文様が施される。
English: Tachiwaku, shippo and kikko patterns are provided all over the clothes such as the hagoromo (feather-robe), johaku (a cloth placed from a shoulder crossly) and the skirt.
Japanese: 天衣・条帛・裳などの着衣全面に立涌、七宝、亀甲の文様が施されている。
English: Rare patterns, such as suminagashi patterns (patterns made with ink drops) on the Fudo myoo, Kusakuidori birds (grass eating birds) on the statue of Kongaradoji and flowers on branches on the statue of Seitakadoji, are observed on these statues.
Japanese: 不動明王の墨流し文様、矜羯羅童子像の草喰鳥、制多迦童子像の枝花など希少な文様が見られる
English: It is supposed that this lion had Monju Bosatsu (Manjusri) on its back originally, and the color of rokusho (a paint made from copper rust, which exhibits green) and linear kirikane patterns are provided on the hair.
Japanese: 本来は文殊菩薩を乗せていたであろう獅子で、毛に緑青の彩色と線状の截金を施している
English: Kindei is painted on the body, and connected 卍 patterns, connected shippo patterns and connected asa no ha patterns and so on are provided on the robe.
Japanese: 肉身は金泥を塗り、衣は卍繋ぎや七宝繋ぎ、麻の葉繋ぎ等の截金文様が施されている
English: This is a Buddha statue that Kaikei sculpted in his 'takusho amida butsu' (skilled artisan of Amida Buddha) era, and delicate patterns of connected shippo, yotsume kikko, double lattice and kagome, and so on are provided finely in the kirikane technique.
Japanese: 快慶が「巧匠安阿弥陀仏」時代に製作した仏像であり七宝繋ぎ文、四ッ目亀甲、二重斜格子文、籠目などの繊細な截金文様が美しく施されている
English: This is a Buddha statue that Kaikei sculpted in his Hokkyo phase, and features a beautiful face and gracefully curved robe lines.
Japanese: 快慶が法橋時代に製作した仏像であり、秀麗な面相と流れるような美しい曲線を描く衣が特徴。
English: Statues of Fudo Myoo, Gozanze Myoo (Trailokya-vijaya), Daiitoku Myoo, Gundari Myoo and Kongoyasha Myoo: Sculpted in the Heian period, designated as an Important Cultural Property
Japanese: 五大明王像（不動明王、降三世明王、大威徳明王、軍荼利明王、金剛夜叉明王）/平安時代重文
English: A variety of kirikane patterns, including raimon, swirl, wave, karakusa, tobashi (literally, scattered)-komochi-kikko, kagome, slanting lattice, tobashi-shippo, 卍, and sayagata which is a type of connected 卍 patterns, are provided, and are maintained in a quite good state.
Japanese: 雷文、渦文、波文、唐草文、飛ばし子持亀甲文、籠目文、斜格子文、飛ばし七宝文、卍文、卍繋ぎの一種の紗綾形文など多種多様な截金文様が施されており、保存状態も極めて良い状態で残されている。
English: Seated statues of Prince Shotoku, Yamashiro-O, Eguri-O, Somaro-O and Eji hoshi (Buddhist priest Eji) in Shoryoin Temple: Sculpted in the Heian period, designated as a national treasure
Japanese: 聖霊院/聖徳太子・山背王・殖栗王・卒末呂王・恵慈法師坐像/平安時代/国宝
English: The principal image of the Juntei ho (a pure rite) of Esoteric Buddhism, which is learned for avoiding disaster and for searching for a missing child, is placed at the center, surrounded by Shitenno (four guardian kings).
Japanese: 除災・求児などのために修される密教の准胝法の本尊が中央に座し、周囲に四天王が描かれている
English: In addition to the main face and the Buddha face at the top, the image has 11 small-sized faces and each 21 big arms in right and left respectively, and Kudokuten (the goddess of fortune and merit) is painted on one side of the main image and Basusen (Buddhist hermit who continually goes on pilgrimage through the wilderness, saving beings who have lost their way) on the other side.
Japanese: 本面および頂上仏面以外に11小面と左右各21大手をとる像の左右に功徳天・婆藪仙が描かれている