nntsuzu/KFTT huggingface dataset:
English: Moreover, a kama yokai (metal pot specter) was portrayed in "Hyakki yagyo emaki" ('Night Parade of One Hundred Demons' picture scroll) in the Muromachi period, and the Narikama was supposedly modeled on it.
Japanese: また室町時代の『百鬼夜行絵巻』にも釜の妖怪が描かれており、これがモデルになったともいわれている。
English: Achimenowaza (also known as Achimewaza, Achimesaho, Ajimenosaho, and so on) is a Kagurauta (songs to accompany kagura [sacred music and dancing performed at shrines] performance) performed in the Imperial Court or shrines.
Japanese: 阿知女作法（あちめのわざ、あちめわざ、あちめさほう、あじめのさほう、等々）とは、宮中及び神社等で歌われる神楽歌の一つ。
English: It was originally a kind of a magic spell to celebrate the advent of God and to create a sacred atmosphere.
Japanese: 本来は、神の降臨を喜び、神聖な雰囲気を作るためと思われる一種の呪文。
English: "Ah, Chih, Meh" (once), "Oh, Oh, Oh" (three times), "Oh, Keh" (once): This set of phrase is called Achimenowaza, and sung in chorus by two groups (motokata [leaders, sitting on the left side of the niwabi, a garden fire, at Mikagura, music performed in court Shinto ceremonies] and suikata [followers, sitting on the right side of the niwabi]).
Japanese: あ～ち～め―（一度）、お～お～お―（三度）、お～けー（一度）のフレーズを阿知女作法と呼び、これが２組（本方・末方）に分かれて唱和される。
English: Kagurauta is roughly divided into the following parts: Niwabi (preparation for the night), Torimono (greeting the gods), Saibari (entertainment for the gods), and Akaboshi (sending off the gods).
Japanese: 神楽歌は、庭燎（にわび：夜の準備）、採物（とりもの：神迎え）、前張（さいばり：神祭り）、明星（あかぼし：神送り）の段階に大きく分けられる。
English: The most common way of Achimenowaza is that after the part of Niwabi, a variation of the phrase is repeated in the part of Torimono or Maebari, and so on.
Japanese: 阿知女作法で有名なものは庭燎の後に、また、採物、前張等でもフレーズを変えて繰り返される。
English: 1. Ametsuchini kiyurakasuwa sayurakasu kamiwakamo kamikosowa kinekiko kiyuranaraba
Japanese: ①あめつちに　きゆらかすは　さゆらかす　かみわかも　かみこそは　きねきこう　きゆらならは
English: 2. Isonokami Furuyashiro no tachimokato Negau sonokoni Sono tatematsuru
Japanese: ②いそのかみ　ふるやしろのたちもかと　ねかふそのこに　そのたてまつる
English: 3. Satsuoraga Motaki no mayumi Okuyamani Mikarisurashimo Yuminohasumiyu
Japanese: ③さつおらが　もたきのまゆみ　おくやまにみかりすらしも　ゆみのはすみゆ
English: 6. Wakimokoga Anashinoyama no Yamanomoto Hitomomirukani Miyamakazuraseyo
Japanese: ⑥わきもこが　あなしのやまのやまのもと　ひともみるかに　みやまかつらせよ
English: 7. Tamahakoni Yutorishitete Tamachitoraseyo Mitamakari Tamakarimashishi kamiwa Imazokimaseru
Japanese: ⑦たまはこに　ゆうとりしてて　たまちとらせよ　みたまかり　たまかりまししかみは　いまそきませる
English: 8. Mitamamini Imashishikamiwa Imazokimaseru Tamahakomochite sarikurumitama
Japanese: ⑧みたまみに　いまししかみは　いまそきませる　たまはこもちてさりくるみたま
English: Most of the meanings are obscure; if a kanji character is used to express each meaning, it is uncertain whether the kanji accurately corresponds to the meaning.
Japanese: 意味が判明していないところが多く、漢字を当てたとしても、その漢字が意味と合っているかも判っていない。
English: Since it is a song, its sound is assumed not to be greatly changed; so it is described in the hiragana syllabary as stated above.
Japanese: 歌なので、音はそれほど変遷していないとの仮定で、ひらがな表記とした。
English: One theory is that 'Achime' refers to 'Azumi no Isora,' a male god, and 'Oh, Oh, Oh' is Azumi no Isora's response (in Taiheiki [The Record of the Great Peace] and others).
Japanese: 「あちめ」とは、男神と考えられている安曇磯良を指すといわれ、「お～お～お―」とは、安曇磯良が返答している声との説（太平記等）がある。
English: However, now that 'Achime' is expressed in kanji characters as '阿知女,' in which the character '女' meaning 'woman' is used, these kanji must have been used as phonetic symbols rather than for the meanings in later years; however, details are still unknown.
Japanese: しかし、後世に当て字したものだろうか、「阿知女」と、「女」の漢字がついており、詳細は不明である。
English: 1. The word 'yurakasu' or 'furakasu' used in this part possibly means to shake Emperor's clothes ready for Chinkonsai.
Japanese: ①「ゆらかす（振らかす）」の言葉が使われており、鎮魂祭にあたり、天皇の衣を動揺させることを歌った可能性がある。
English: 8. The theory goes that 'Tamakaeshisunaya' refers to 'You may ask to stay longer.'
Japanese: ⑧「たまかへしすなや」は、「ゆっくりお留め申すがよい」と訳す説もある。
English: 9. Numbers are counted from 1 to 10; this may be related to 'Hifumi no Haraekotoba' (counting words read by the priest in a Shinto purification rite) known as a magic spell of Tokusa no kandakara (the ten sacred treasure).
Japanese: ⑨数を１から10まで数えており、十種神宝の呪法として有名な「ひふみの祓詞」と関係があると考えられる。
English: Ogumo is a gigantic spider monster which appears in Japanese Kaidan (ghost stories), essays, folk material and so on.
Japanese: 大蜘蛛（おおぐも）は、日本の怪談、随筆、民俗資料などにある巨大なクモの怪異。
English: It was mentioned in old books such as "Inu hariko" (literally, The Toy Dog), "Shoko-ki" (a collection of ghost stories originated in Tang China), "Mimibukuro" (literally, Ear bag), and "Tonoigusa" (literally, Night watchman's storybook), while in "Tsuchigumo no soshi" (Tale of the ground spider) and "Heike Monogatari" (literally, The tale of the Heike) it is known as Tsuchigumo (literally, ground spider).
Japanese: 『狗張子』『諸皐記』『耳嚢』『宿直草』などの古書に記述があり、『土蜘蛛草子』『平家物語』では土蜘蛛として知られる。
English: "Sorori Monogatari," a collection of Kaidan of the Kanbun era (1661-1673), has a story titled 'The incident in which a huntsman spider transmuted,' the story of which is that one night the Ogumo took the shape of an old woman of around 60 years old, swinging its disheveled hair, attacked a man who lived in the countryside, and its leg was cut off by his sword.
Japanese: 寛文時代の怪談集『曾呂利物語』には「足高蜘の変化の事」と題し、ある山野に住む男のもとに夜、大蜘蛛が60歳ほどの老婆に化け、髪を振り乱して襲いかかり、男に刀で足を斬り落とされたという話がある。
English: According to the "Inu hariko," when a yamabushi (a mountain priest) stayed at Daizen-in Temple in Gojo Karasuma, Kyoto, there was a very loud noise late at night, and at the same time, a hairy arm stretched from the ceiling and stroked yamabushi's face, so that the yamabushi cut off the arm, and the next morning there was the dead body of the Ogumo as big as about 84 cm by a Buddhist altar there.
Japanese: 『狗張子』によれば、京都五条烏丸で、ある山伏が大善院という寺に泊まったところ、夜更けに激しい音とともに、天井から毛むくじゃらの手がのびて山伏の顔をなでたので、刀で斬り落としたところ、翌朝には仏壇のそばに2尺8寸（約84センチメートル）の大蜘蛛の死骸があったという。
English: "Shinano Kishoroku" (literally, a topography of Shinano Province, which was written in the Tenpo era (1830-1844) and includes a story of the Ogumo which sucked energy out of a human to make him ill.
Japanese: 天保時代の『信濃奇勝録』には、大蜘蛛が人間の生気を吸って病気にさせたという話がある。
English: In Iiyama, Shimominochi County, Shinano Province (present-day Nagano Prefecture), there was a farm family of the mother and the son, and when the son became ill, he began to suffer saying, 'A spider is coming, it's coming.'
Japanese: 信濃国（現・長野県）下水内郡飯山に、母子2人暮しの農家があったが、息子が病気になって「蜘蛛が来る、蜘蛛が来る」と言って苦しむようになった。
English: The mother tried to kill the spider, but it seemed that only the ill son could see the spider; and her prayers did not work at all.
Japanese: 母親は蜘蛛を殺そうとしたものの、蜘蛛は病人にしか見えないらしく、祈祷にすがっても効果はなかった。
English: After a while, maybe because of the mother's deep worry for her son, she gradually became able to see the spider; she held the spider down in the bed, but on the contrary, she was caught in the spider's thread.
Japanese: その内に息子を想う母の念の力か、次第に母にも蜘蛛が見えるようになり、寝床にいる蜘蛛を押さえつけたが、逆に蜘蛛の糸に捕えられてしまった。
English: The neighbors heard the mother's painful groan and rushed to her place and killed the spider to rescue her; it was a gigantic spider which they had never seen before.
Japanese: 母の苦しむ声を耳にした近隣の人々が駆けつけ、蜘蛛を殺して母を救い出すと、それは見たこともない巨大な蜘蛛だった。
English: Although the son managed to survive, his blood had been sucked and many parts of his skin had come off, so that he could not walk without a stick.
Japanese: 息子は一命をとりとめたものの、血を吸われた上に体のあちこちの皮が剥げ、しばらくは杖無しでは歩けないほどだったという。
English: One theory has it that these legends of spider monsters came from a folk belief that old spiders would acquire mysterious powers.
Japanese: これらのようなクモの怪異の伝承は、歳を経たクモが怪しい能力を持つという俗信から生まれたものとも考えられている。
English: A Kyo rin rin is one of Japanese yokai (ghosts, spirits and monsters) that was portrayed in Sekien TORIYAMA's yokai art collection book: "Hyakki Tsurezure Bukuro" (The Bag of One Hundred Random Demons; the term 'hyakki' in its title is a pun on the usual hyakki, replacing the character for demon which is written as "鬼" in Japanese with a character for vessel written as "器," and sure enough, most of the yokais shown in this book are tsukumogami [a type of Japanese spirits that originate in items or artifacts that have reached their 100th birthday and become alive]), and a yokai of Buddhist scriptures.
Japanese: 経凛々（きょうりんりん）は、鳥山石燕の妖怪画集『百器徒然袋』にある日本の妖怪の一つで、経典の妖怪。
English: It is said to be a yokai created by Sekien based on an anecdote about Shubin, a Buddhist monk of the early Heian period, which appeared in a war chronicle "Taiheiki" (The Record of the Great Peace).
Japanese: 軍記物語『太平記』にある平安時代前期の僧・守敏の逸話をもとに石燕が創作した妖怪とされる。
English: Although Shubin had been known as a Buddhist monk for offering prayers in Sai-ji Temple of Kyoto, he lost the match in power of Buddhism with Kukai, a Buddhist monk of Toji Temple.
Japanese: 守敏は京都西寺の祈祷僧として知られていたが、東寺の僧・空海との法力比べで敗れ去った。
English: Shubin's scriptures were discarded as useless and became the tsukumogami, and Kyo rin rin thus came into being.
Japanese: 不用となって捨てられた守敏の経文が付喪神と化したものが経凛々とされる。
English: Many yokais in the "Hyakki Tsurezure Bukuro" were drawn borrowing motifs from "Hyakki yagyo emaki" ('Night Parade of One Hundred Demons' picture scroll) of the Muromachi period, and the Kyo rin rin also share the common features in terms of a design of a bird monster having a long beak and Buddhist sutra scrolls tied up on the head, with a yokai in the "Hyakki yagyo emaki."
Japanese: また『百器徒然袋』の妖怪は、室町時代の妖怪絵巻『百鬼夜行絵巻』をモチーフとして描かれたものが多いが、この経凛々についても同様、『百鬼夜行絵巻』の中にある、くちばしの長い鳥状の妖怪が経文を頭に巻いている姿にデザイン上の共通点が見られる。
English: Kosode no te (literally, the hand of kosode [short sleeved kimono]) is one of Japanese yokai (monsters, spirits, ghosts and specters) which is drawn in Sekien TORIYAMA's yokai art collection book "Konjaku Hyakki Shui" (Supplement to The Hundred Demons from the Present and the Past).
Japanese: 小袖の手（こそでのて）は、鳥山石燕の妖怪画集『今昔百鬼拾遺』にある日本の妖怪。
English: A female ghost's hand and arm stretching out from a sleeve of kosode (high-class kimono with narrow-wrist sleeves) is the kosode no te.
Japanese: 小袖（袖口の狭い高級な和服）の袖から女性の幽霊の手が伸びたものが小袖の手である。
English: Properly, kosode of a dead person should be inherited as a memento or offered to a temple where prayers were said for the owner's soul, but when a high-class kosode was sold off, it was possessed by the owner's ghost who had failed to become Buddha, thus making the Kosode no te come into being.
Japanese: 本来、死んだ人間の小袖は形見の品となったり、寺に納められて供養されるはずが、高級な小袖が売却され、成仏できない霊がその小袖に取り憑いたものが小袖の手とされる。
English: "Yokai Gadan Zenshu (Complete Collection of Discussions on Monster Art) Japan Vol.1," a book by a folklorist Morihiko FUJISAWA, includes the following story.
Japanese: 民俗学者・藤沢衛彦の著書『妖怪画談全集日本篇上』には、以下のような話がある。
English: Sometime during the Keicho era (1596-1615), a man who lived in Kyoto and was called Shichizaemon MATSUYA bought a kimono for his daughter at a secondhand clothes store.
Japanese: 慶長年間、京都に住む松屋七左衛門という男が、娘のために古着屋から着物を買った。
English: Furthermore, Shichizaemon witnessed a female ghost in his house, who was wearing the very same kimono with the one he bought for his daughter.
Japanese: また七左衛門も家で女の幽霊を目にし、その霊は娘に買ったものと同じ着物を着ていた。
English: Shichizaemon felt that kimono was eerie and decided to sell it off, so that he hung it on the iko (a rack for hanging kimono) for a while.
Japanese: 七左衛門はその着物を気味悪く思い、売りに出すことにして衣桁（いこう）に掛けておいた。
English: A closer look at kimono proved that the cloth had been cut diagonally from the shoulder to the underarm and then it had been sewn up skillfully for cover-up.
Japanese: 着物をよく調べたところ、布が袈裟懸けに切られ、うまく縫い合わせてごまかした跡があった。
English: He thought that the kimono should have belonged to a woman servant who had gotten slashed to death by her master of buke (a samurai family), and he therefore offered it to the family temple to mourn for the dead, thus resulting in recovery of his daughter.
Japanese: これは武家に仕えていて手討ちに遭った女性の着物だろうと思い、菩提寺に着物を納めて弔ったところ、娘の病気も回復に至ったという。
English: Byobu nozoki (literally, a voyeur at a folding screen) is one of Japanese yokai (specters, monsters, spirits and ghosts) drawn in Sekien TORIYAMA's yokai art collection book "Konjaku Hyakki Shui" (Supplement to The Hundred Demons from the Present and the Past).
Japanese: 屏風のぞき（びょうぶのぞき）は、鳥山石燕による妖怪画集『今昔百鬼拾遺』にある日本の妖怪。
English: According to a caption in the "Konjaku Hyakki Shui," the byobu nozoki is a yokai which peeps at people from behind a byobu (folding screen).
Japanese: 『今昔百鬼拾遺』の解説文によれば、屏風のぞきとは屏風の外側から人を覗き込む妖怪である。
English: According to Chinese classical literature, Shi Huangdi (meaning the first emperor) jumped over a byobu in the Xianyang Palace when he was about to be assassinated.
Japanese: 中国の古典によると、始皇帝は殺害されかけたときに咸陽宮の屏風を飛び越えたといわれる。
English: From this some people point out the possibility that Sekien created the byobu nozoki based on the Chinese classical literature.
Japanese: このことから、屏風のぞきとは石燕が中国の古典をもとにして描いた創作物との指摘がある。
English: On the other hand, there is a theory that the byobu nozoki was originally a byobu in a bedroom, which had watched many sexual relations and turned into a tsukumogami (artifact spirit).
Japanese: だが一方では、多くの男女の秘め事を見続けてきた寝室の屏風が付喪神になったものが屏風のぞきとの説もある。
English: A novelist Norio YAMADA wrote a chapter under the title 'Byobu nozoki onna (woman)' in his "Tohoku Kaidan no Tabi" (literally, Trip to the ghost stories in the Tohoku region), wherein he introduced a ghost story of Akita Prefecture as follows.
Japanese: 小説家・山田野理夫の著書『東北怪談の旅』には「屏風のぞき女」と題し、秋田県の以下のような怪談が述べられている。
English: At the wedding night, however, when Seizaemon was going to take his new wife in the bed, he found a skinny woman with long hair peeping at them from behind a byobu around the bed.
Japanese: しかしその初夜、布団の中で清左衛門が新妻を抱こうとすると、周りを取り囲む屏風の陰から痩せた女が長い髪を垂らして覗き見ていた。
English: As the Nozoki onna appeared again on the night following, Seizaemon removed the byobu and stored it in a kura (storehouse), and the Nozoki onna never appeared again.
Japanese: 次の晩も同じようにのぞき女が現れたので、清左衛門が屏風を立てることをやめて蔵にしまったところ、のぞき女は現れなくなった。
English: It is usually made with an earthenware pan and a frying pan in two general ways, one of which is by roasting salt first while the other by roasting sesame seeds first.
Japanese: ほうろくやフライパンで作るのが一般的であり、大きく分けると塩とゴマのいずれを先に炒るかに分かれる。
English: The former is the way black sesame is mixed with parched salt and roasted until the water evaporates, while the latter is the way highly salted water is added to the roasted black sesame and heated until the water evaporates.
Japanese: 前者は焼いた塩に黒ゴマを入れて水分を蒸発させるまで炒る方法で、後者は炒った黒ゴマに濃厚な塩水を加えて水分を蒸発させるまで炒る方法である。
English: Either way, it is said that sesame, salt and water to be mixed and roasted should be equal in amount.
Japanese: いずれもゴマ・塩・水の比率が1ずつ混ぜ合わせて炒ると良いとされている。
English: Gomashio is sprinkled over glutinous rice steamed with red beans and rice balls, as well as sometimes used as a substitute for furikake (rice seasoning).
Japanese: 赤飯や握り飯に振りかける他、ふりかけの代用品として用いられる場合もある。
English: Because of the contrast of white salt and black sesame, the word gomashio is also used figuratively for something white and black.
Japanese: 塩の白とゴマの黒との対比から、白と黒が混じったものの比喩に用いられる。
English: This is why black hair streaked with gray came to be called 'gomashio hair.'
Japanese: 白髪混じりの黒髪の頭髪を「胡麻塩頭」と呼称するのは、これに由来する。
English: Samon (ripple marks) are regular wave-like undulations formed by water and wind currents.
Japanese: 砂紋（さもん、英Ripplemarks）とは水や空気が流れることによってできる、規則的な波状の起伏。
English: Although artificial undulations are also sometimes called samon, the samon usually refer to natural ones.
Japanese: 人工的なものでも砂紋と呼ぶことがあるが、多くは自然現象によって生じたものをさす。
English: The word renkon originally included the meaning of samon, but it is used only for fossile ripple marks today.
Japanese: もともと漣痕は砂紋の意味合いを含んでいたが、今では化石蓮痕の意味合いでしか使われなくなった。
English: Samon on the seafloor are also called namiato (wave ripples), sunasazanami (sand ripples), and saren (sand ripples).
Japanese: 海底に生じた砂紋は波跡（なみあと）、砂漣（すなさざなみ）、砂れんなどとも呼ばれる。
English: Low surface waves and limited water depth make only a subtle pattern and do not move ridges.
Japanese: 水面の水面波が低く水深もそれほど深くないときは紋は微弱で山は位置を変えない。
English: The ridges start moving, however, when different currents come in and waves lapping against the rocky shore cause mass transfer.
Japanese: しかし別の流れが加わったり、磯波となって質量移送が存在すると、山は移動し始める。
English: Wave shape is asymmetrical in shallow seawater, with a gentle and long slope on the seaward side and a steep and short slope on the shoreward side.
Japanese: 浅海では波状は非対称で、沖に向かう側は平たくて長く、岸に向かう側は険しくて短い。
English: Waves coming up and down above a certain speed are said to form the whirlpool behind the ridges, thus playing an important role in developing the samon.
Japanese: なお往復する水の流れがある程度以上速くなると、山の後ろにできる渦が、砂紋の発達に重要な役割を果たすといわれている。
English: Seabed photography has recently revealed the presence of samon even in the deep sea at a depth of 1,000 m or more.
Japanese: 近年は海底写真によって1,000m以上の深海でも砂紋が見出されている。
English: The size of a sand grain is about 0.7 mm in the seacoast area, and becomes finer to 0.3 mm toward the inland area.
Japanese: 砂は海岸部では0.7mm程度だが、内陸部になるほど粒が小さくなり0.3mmにもなる。
English: Height, width, and cycles of the samon depend on the strength and direction of wind, grain size of sand, and other factors.
Japanese: 砂紋は風の強さ、風向、粒子の大きさなどでその高さ、幅、周期などが異なる。
English: They are also called hokime (broom marks), and have several types of patterns such as igeta mon (parallel cross pattern), ajiro mon (wickerwork pattern), seigaiha mon (blue ocean wave pattern), uzumaki mon (spiral pattern), and kyokusen mon (curvilinear pattern).
Japanese: 箒目（ほうきめ）とも呼ばれ、井桁紋網代紋青海波紋、渦巻紋曲線紋などの種類が存在する。
English: Oribe ware is pottery made mainly in Mino Province from the Tensho era (1573-1592) of the Momoyama period.
Japanese: 織部焼（おりべやき）は、桃山時代の天正年間（1573年-1592年）頃から、主に美濃国で産する陶器。
English: It was named after Oribe FURUTA, who was a daimyo (feudal lord) and master of the tea ceremony and had been a disciple of SEN no Rikyu, because Oribe ware was born under his direction and many chaki (tea utensils) of eccentric, novel shapes and patterns according to Oribe's taste (Oribe-Gonomi) were produced.
Japanese: 千利休の弟子であった大名茶人、古田織部の指導で創始され、織部好みの奇抜で斬新な形や文様の茶器などを多く産したことによる。
English: While other chaki are expected to be well-ordered and decent in shape and also are valued for their abstraction, Oribe ware include a number of representational articles, such as irregularly-shaped Kutsukake chawan (tea bowls shaped like a shoe of old times), those with a checkered or geometric-pattern hand painting, and in later years, tableware and incense burners in the shape of a sensu (folding fan) and the like.
Japanese: 整然とした端正な形を好み、抽象を重んじる他の茶器とは違い、歪んだ形の沓（くつかけ）茶碗や、市松模様や幾何学模様の絵付け、後代には扇子などの形をした食器や香炉など、具象的な物が多い。
English: Mass production was also enabled by using climbing kilns and the method of pressing clay onto a wooden pattern covered with wet hemp cloth.
Japanese: 登り窯の利用や、木型に湿らせた麻布を張り、そこに伸ばした粘土を押し付けるという手法で大量生産も行われた。
English: Sengoro SHIGEYAMA is a family name of Kyogen Okura-ryu (comic actors of Okura school) and the name of the head of the Sengoro Shigeyama family.
Japanese: 茂山千五郎（しげやませんごろう）は、狂言大蔵流の名跡で茂山千五郎家の当主名。
English: The Shigeyama family has been performing kyogen in Kyoto since the early Edo period and from the ninth generation, the name of the leader has been 'Sengoro.'
Japanese: 茂山家は江戸時代初期から京都で狂言師として活動してきた家であり、九世より当主名が「千五郎」となる。
English: Sengoro SHIGEYAMA the Ninth, Masatora (June 18, 1810-May 11, 1886) was a Kyogen performer in the late Edo period and the early Meiji period.
Japanese: 九世茂山千五郎正虎（文化(日本)7年5月17日(旧暦)（1810年6月18日）－明治19年（1886年）5月11日）は、江戸時代後期から明治時代初期の狂言師。
English: Sengoro was born as a child of 佐々木甚兵衛浄喜, kimono fabrics dealer, and was first called Chuzaburo.
Japanese: 京都の呉服商佐々木甚兵衛浄喜の子として生まれ、初めは忠三郎と名乗った。
English: Sengoro Masashige SHIGEYAMA, the 10th (October 27, 1864-February 5, 1950)
Japanese: 十世茂山千五郎正重（元治元年9月27日(旧暦)（1864年10月27日）-昭和25年（1950年）2月5日）。
English: In 1888, he succeeded to the name Sengoro Masashige SHIGEYAMA, the 10th and in 1946, Sensaku SHIGEYAMA, the Second.
Japanese: 1888年、十世茂山千五郎正重を襲名、1946年、茂山千作2世を襲名。
English: In 1946, he succeeded to the name Sengoro SHIGEYAMA, the 11th and in 1966, Sensaku SHIGEYAMA, the Third.
Japanese: 1946年、十一世茂山千五郎を襲名、1966年、茂山千作3世を襲名。
English: In 1966, he succeeded to the name Sengoro SHIGEYAMA, the 12th and in 1994, Sensaku SHIGEYAMA, the Fourth.
Japanese: 1966年、十二世茂山千五郎を襲名、1994年、茂山千作4世を襲名。
English: Aikata is a term used in the fields of classical Japanese music and dance.
Japanese: 合方（あいかた）または相方（あいかた）は日本音楽や日本舞踊における用語の一つ。
English: The term is used as a category name of musical composition in the field of classical Japanese music, while it means a partner when being used in classical Japanese dance.
Japanese: 日本音楽で用いる場合、楽曲の分類名として用い、日本舞踊で用いる場合は相手役、相手方を指して言う。
English: By extension, the term has come to be used for one's duo partner in manzai (a comic dialogue), which has led some people to refer to their girlfriend/boyfriend by the term aikata.
Japanese: 転じて漫才などにおける自身のコンビ役を指す言葉として用いられ、そこから恋人について相方と呼ぶこともある。
English: In the case of joruri (dramatic narrative chanted to a shamisen accompaniment), the aikata means a shamisen player accompanying tayu who perform a dance.
Japanese: 浄瑠璃などでは舞を披露する太夫と組み、三味線を演奏する者を合方と称する。
English: In the field of kabuki, the term aikata refers to instrumental music which is played, accompanying the movements of actors, including entrances and exits, in kuromisu (a slatted room at the stage right) (geza music).
Japanese: 歌舞伎における黒御覧（下座音楽）において俳優の登場や退場などにあわせて演奏する唄を伴わない音楽を合方（相方）と呼称する。
English: This kind of music includes those generally called 'XX Aikata' as well as those having proper names such as 'Taimen Sanju' and 'Seigyo.'
Japanese: このような音楽の場合、「○○相方」などのように一般的に呼ばれるものの他に「対面三重」や「清仰」といった固有名詞を持つ合方も存在する。
English: Pieces of music of debayashi (an onstage ensemble) above a certain length (interlude) are also referred to as aikata, each of which is usually given a title like 'Azuma Hakkei' (The Eight Views of the East) and 'Tsuru Kame' (Crane and Turtle).
Japanese: また、出囃子ではある程度以上の長さを備えた音楽的なまとまり部分（間奏部）を合方と呼び、「吾妻八景」や「鶴亀」といった標題がつけられる事が多い。
English: Kudo (written as 竈) means the rear part of Kamado (kitchen range, also written as 竈), which is an outlet for smoke (the original meaning).
Japanese: 竈（かまど）のうち、その後部に位置する煙の排出部を意味する（原義）。
English: Sometimes it also means the space for cooking in a house, including doma (dirt floor).
Japanese: また、土間など住居の中で、煮炊きを行う空間そのものを意味することもある。
English: In some areas in Sanin region and so on, equipment for cooking is called 'kamado,' and the space itself is called 'kudo,' respectively.
Japanese: 山陰地方などでは、煮炊きの設備を「かまど」、空間そのものを「くど」と呼んで区別している地域も存在する。
English: Tojiro YAMAMOTO is a professional name for a kyogen performer of the Tojiro Yamamoto family of Okura school, which is handed down generation to generation.
Japanese: 山本東次郎（やまもととうじろう）は、大蔵流山本東次郎家狂言師の名跡。
English: Tojiro Norimasa YAMAMOTO (September 25, 1836 - November 28, 1902) or in real name Norimasa YAMAMOTO.
Japanese: 山本東次郎則正（天保7年（1836年）8月15日-明治35年（1902年）11月28日）本名は山本則正。
English: After being ordered by the clan to take kyogen training at the age of 11, he became a disciple of Magozaemon MIYANO and then Kenkichi KOMATSU.
Japanese: 11歳で藩から狂言修行を命じられ宮野孫左衛門に師事、後に小松謙吉に師事。
English: Tojiro Noritada YAMAMOTO (September 2, 1864 - September 1, 1935) or in real name Noritada YAMAMOTO.
Japanese: 山本東次郎則忠（元治1年（1864年）8月2日-昭和10年（1935年）9月1日）本名は山本則忠。
English: Tojiro Norishige YAMAMOTO (September 26, 1898 - July 26, 1964) or in real name Norishige YAMAMOTO.
Japanese: 山本東次郎則重（明治31年（1898年）9月26日-昭和39年（1964年）7月26日）本名は山本則重。
English: Tojiro Norihisa YAMAMOTO (May 5, 1937 -) or in real name Norihisa YAMAMOTO.
Japanese: 山本東次郎則寿（昭和12年（1937年）5月5日-）本名は山本則寿。
English: Eight Views is a manner of scenery valuation in which eight finest sceneries of the region are selected.
Japanese: 八景（はっけい）とは、ある地域における八つの優れた風景を選ぶ、風景評価の様式。
English: On the model of Eight Views of Xiaoxiang which were selected in Baisong in the 10th century, Eight Views have been selected under its influence in various places of East Asia, including Taiwan, Korea, Japan and so on.
Japanese: 10世紀に北宋で選ばれた瀟湘八景がモデルとなり、影響を受けた台湾、朝鮮、日本など東アジア各地で八景が選定されてきた。
English: In many cases Eight Views, like the Eight Views of Xiaoxiang, consist of fixed subjects, but there are also the ones whose targets vary across the ages, like Eight Views of Taiwan.
Japanese: 八景は瀟湘八景のように対象が固定されているものも多いが、台湾八景のように時代とともに内容が変遷するものもある。
English: Sometimes the combination of eight sceneries is patterned after the Eight Views of Xiaoxiang, and sometimes it is a selection of mainly well-known scenic spots.
Japanese: また、8つの風景の組み合わせは瀟湘八景をなぞらえている場合と、知名度の高い名所を中心に選出した場合がある。