nntsuzu/KFTT huggingface dataset:
English: Entering from the nijiriguchi by bending forward is a form of ceremony for entering another space which is apart from real world.
Japanese: この躪口から身をかがめて入ることが、俗世間から遊離した空間へはいる儀式である。
English: Its ceiling is made with none-ita (thin wooden board for roofing) boarded up with white bamboo at the front and the left of toko and designed as Kesho-yaneura (the underside of the roof is visible because no ceiling has been installed. Occasionally, the rough underside of the roof may be finished with carefully planed boards or sheathing placed to follow the actual roof slope) showing bamboo balk.
Japanese: 天井は、床のすぐ前と左手はノネ板（屋根葺用の薄板）に白竹打ち上げ、右手前の躪口を入ってすぐ上は、竹の垂木を見せた化粧屋根裏となっている。
English: The sumibashira (also called kakubashira; a corner post or pillar that is square or rectangular) in toko is hidden, which is designed as murodoko (an alcove which is completely plastered), and another sumibashira of the wall on the ro (a sunken hearth; a square box installed into the floor of a tea ceremony room to make a charcoal fire) is also hidden by being plastered.
Japanese: 床（とこ）の中は隅柱を隠した室床（むろどこ）とし炉の上の壁も隅の柱を塗り込めて消している。
English: These are devices used to alleviate the narrowness of the room as well as room design to provide it differences.
Japanese: いずれも部屋の狭さを感じさせないための工夫であるとともに、室内に変化を与える意匠上の工夫である。
English: The bones of Shoji are made with bamboo, there are three Fushi (gnarls) in kamachi of toko, and the tokobashira (the pillar closest to the corner of the tea ceremony room and the second of two pillars dictate the width of the alcove) is made with Maruta KITAYAMA (lumber from Mt. Kitayama).
Japanese: 障子の骨は、竹を用い床の框には三つの節が見え、床柱は、北山丸太である。
English: On Fusuma-shoji the karakami printed in one color of kira (a silicate mineral with a layered structure, its crystals are often found in granite deposits) in taikobari style (a type of fusuma (paper-covered, sliding door) which is completely covered with stout Japanese paper).
Japanese: 襖障子は太鞁張（たいこ）張りにした雲母（きら）の一色刷りの唐紙である。
English: All parts makeup the receptacle of the Rikyu's sophisticated spirit and entice people into his original world.
Japanese: あらゆる部分に利休の精緻な精神が息付いて、一分の隙もなく独自の世界に引き込まれる仕掛けとなっている。
English: It is desirable to put oneself into a spiritual world different from the real world before he enters the tea room.
Japanese: 茶室に入る前にすでに俗なる世間と違う精神世界に身を置いているほうが望ましい。
English: The path to a tea room of the houses of samurai or court noble or temples from the streets is not considered only a route, but is elaborated as a preparatory space for tea.
Japanese: 市中の道路から武家や公家や寺院の境内に入り、茶室に近付く通り道を、単なる通路とせず茶のための予備空間としてさまざまな工夫を凝らす。
English: The trees are arranged so not to see into the tea room, and the stepping-stones are arranged not only so guests can walk easily over them, but also it creates a sense of elegance without invoking any intention.
Japanese: 茶室を見通せないよう樹木を配し、飛び石も茶室へ進む客が歩きやすくしかも雅趣があり、さりとて作意の目立たないように配慮する。
English: By passing under the Chumon gate or nakakuguri, a person feels he or she is approaching the tea room, which gives him a sense of beginning to gradually leave the real world.
Japanese: 中門や中潜りを潜ることで茶室に近付きつつあることを実感し、そのことで俗世間から少しずつ遊離しはじめる。
English: Various representations and designs are arranged such as the seats to wait for entering a tea room, tsukubai (literally "stooping basin". A low wash basin used in a tea garden) to wash hands, and lantern which lights the footsteps.
Japanese: 茶室へ入るのを待つ腰掛け、手を清める蹲踞（つくばい）夜足元を照らす灯篭などさまざまな演出と意匠が施される。
English: It is said that Roji (the adjacent garden) originated from that the townsmen in Kyoto and Sakai elaborated the path to the tea room in the depth of their homestead.
Japanese: 露地は、京や堺の町人たちが屋敷の奥に造った茶室への通路にさまざまの工夫を凝らした事に始まるという。
English: The masters of tea ceremony precisely devised and paid careful attention for not only the tea room, but also its approach from the outside space.
Japanese: 茶人たちは、茶室だけでなくそのアプローチの外部空間へも緻密な工夫と気配りを行なったのである。
English: At the front of the entrance, Mairado was used, and in the case of a samurai residence, 7 to 10 thick cross rails, i.e., yoko-mairako (mairako affixed horizontally), of more than 3 cm wide, were used roughly, expressing stateliness and severity.
Japanese: 玄関正面には舞良戸が嵌められていたが、武家屋敷の場合は必ずその横桟の横舞良子の幅を三センチ以上の太いものを、七本から九本くらいの粗さにして、重厚で厳格な表現をしている。
English: Originally the Mairado with more mairako was ranked higher as some Mairado had as many as 35 mairako.
Japanese: 元来、舞良戸は舞良子の多いもの程高級とし、時には三十五本も入れたものがある。
English: At the front of the inside of the entrance way, yaridoko (room where guests' spears were placed) could be found in a large residence, but it was usually covered with a wall.
Japanese: 玄関内部の正面は、大きな屋敷では槍床が設けられたが、普通は全部を壁面とした。
English: The ceiling of the zashiki was made high, there was nothing on the tatami, and there were preparations for battle as a precaution measure.
Japanese: 座敷の天井は高くして、畳の上には一切物を置かず、万一の場合には戦えるように備えていた。
English: In addition, a spear stand was placed above nageshi in zashiki, and at the back of nageshi, stones for throwing were hidden in some samurai residences.
Japanese: また、座敷の長押の上には鎗掛けが設けられ、さらに用心のために長押の裏側に、石つぶての小石が隠されたりした。
English: The reason why the itanoma (room with a wooden floor) and doma (dirt floor) in the kitchen were large compared to the size of residence was so it could be used for preparation for battle.
Japanese: 台所の、板の間や土間が、屋敷の大きさに比較して大きいのは、いざ出陣という時の、支度のための準備に使うためである。
English: For samurai, preparations both in daily life and for emergencies were necessary.
Japanese: 武士たるもの、常日頃の心がけと、いざという時の態勢が必要とされたものである。
English: In the ninth section of Kanatehon, Chushingura (a program of Kabuki - Japanese classical drama titled "The treasury of Loyal Retainers"), there is a description that says; 'KO no Moronao, known as a prudent person, all shoji and fusuma of the residence had shirizashi (a kind of key for fitting, a wedge knocked in under rail) and amado (shutters) had aisen-aikuro (locked with the meeting edges made with a tongue and groove or with a lap joint), of which locks couldn't be broken open, and tearing them down with sledge hammers would make a sound and there wouldn't be time to say; how was it...'
Japanese: 歌舞伎の仮名手本忠臣蔵の九段目に、「用心厳しき高師直、障子・襖は皆尻ざし（建具の一種の錠で、框の下に楔を打ち込んだもの）、雨戸に合栓合框（錠の一種）、こじて外れず、大槌にて毀（こわ）たば音して用意せんか、それいかが・・・」とある。
English: After consideration, Ako Roshi (lordless samurai of Ako domain) prepared thick marutake (hewn bamboo) stretched rope in the form of bow, put its ends on the threshold and kamoi of the shutters and cut the rope.
Japanese: 赤穂浪士は思案の末、太い丸竹に綱を弓状に張ったものを準備して、その両端を雨戸の敷居鴨居にあてがい、綱を切った。
English: The scene, where the threshold and kamoi were loosened by the reverse power of thick marutake, all the shutters were unfastened and the gishi (loyal retainer) entered into the residence in bursts, is famous.
Japanese: 太い丸竹の戻りの力で敷居鴨居がゆるみ、雨戸が一斉に外れ、義士たちがどっと屋敷内に踏み込むという場面は有名である。
English: According to the pictures that came down to the Ogyu family, the residence of Kozukenosuke Yoshinaka KIRA, who was a precedent of Koke (a shogunal vassal to be a honorable family in the Edo period) in the Tokugawa Shogunate was 2796.69 sq. m. of building area on 8,429.75 sq. m. of land, which was about 62.66 m from east to west in width and 133.83 m from north to south in width.
Japanese: 徳川幕府の高家の上席である吉良上野介義央（よしなか）の屋敷は、大給家所伝の絵図によれば、東西三十四間二尺八寸余、南北七十三間三尺七寸、二千五百五十坪の敷地に、建坪八百四十六坪であった。
English: It's hardly possible that the solid shutter in this princely and guarded samurai residence which had the power from 10,000 koku (approximately 1.8 million liters of crop yield) to 20,000 koku (approximately 3.6 million liters of crop yield) could be unfastened so easily like in a play.
Japanese: このような一万石から二万石に相当する、豪壮な用心深い武家屋敷の、頑丈な雨戸が、芝居のように簡単に外れたはずがない。
English: It is said that in fact there were loud sounds heard when breaking shutters and Shoji with kakeya (wooden maul), that could be heard all the way to the northern neighboring residence of Chikara TSUCHIYA, a Hatamoto (direct retainer of the shogun).
Japanese: 実際には、雨戸や障子を掛矢で打ち破る音が激しく、北隣の旗本の土屋主税の屋敷に聞こえたという。
English: Even in recent times, a samurai residence was built as massive architecture based on pure Shoin-zukuri.
Japanese: 近世でも、武家屋敷となると、純粋な書院造りを基本としたやや武骨なまでも、重厚な造りであった。
English: The Nijo-jo Castle was built on Ieyasu's orders over a three year period from 1601.
Japanese: 二条城は、慶長六年（1601年）から三年かけて、家康が築いたものである。
English: The existing Nijo-jo Castle was reformed for Gyoko (Emperor's going out) of Emperor Gomizunoo in 1626.
Japanese: 現存する二条城は、寛永三年（1626年）の後水尾天皇の行幸に備えて、大改造したものである。
English: It consists of the two rooms, but during the age of Ieyasu there were three rooms of Jodan no ma, Chudan no ma (middle floor level), and Gedan no ma (lower floor level).
Japanese: 現在は二室構成となっているが、家康当時は上段の間、中段の間、下段の間の三室となっていた。
English: In Jodan no ma, there are tokowakidana (decorative shelves arranged in the recess next to the decorative alcove) 1.8 m wide and a tokonoma 5.4 m wide in the front, based on Shoin-zukuri style, as well as tsukeshoin on the side of the Hiroen (wide veranda) and chodaigamae on the right side.
Japanese: 上段の間は、書院造りの基本通りに正面に一間の床脇棚と三間の床の間が並び、広縁の側に付書院、そして右側に帳台構えを設けている。
English: As mentioned above, chodaigamae is a built-in ornamental doorway with a threshold raised by about one step from a tatami mat, and one step down from the kamoi lower than nageshi and placed four blue Fusuma-e (images painted on fusuma sliding door).
Japanese: 帳台構えについては前に詳しく述べたが、敷居を畳より一段上げ、鴨居を長押より一段低く設け、四枚の紺碧画の襖絵を入れている。
English: This chodaigamae Fusuma was made in the so-called Tofusuma door (wooden door covered with Fusuma paper) with the two sliding doors in the center and the other two fixed doors outside.
Japanese: この帳台構えの襖はいわゆる戸襖仕立てで、中央の二枚は左右に引き分け、外側の二枚は嵌め殺しとなっている。
English: The threshold and kamoi of the chodaigamae, pillars and hotate (a thin board or narrow post set on each side of a door or gate to provide a neat finish) were all finished in black-lacquered, which created a heavy and prestigious atmosphere of a ceremony.
Japanese: 帳台構えの敷居鴨居や柱、方立て（ほたて）などすべて黒塗りに仕上げられ、対面の儀式を重厚な格式ある雰囲気に演出する。
English: In addition, at the back of Tofusuma door of chodaigamae there was a closet, in which a samurai could be hidden in an emergency, so that it was called the warriors' hiding place.
Japanese: また、帳台構えの戸襖の後は、納戸となっており、万一のための用心に武者を入れて置くことができ、武者隠しとも云われた。
English: This Shoin-zukuri style of Jodan no ma was adopted by all means, aside from the difference of the scale in the zashiki of samurai residence.
Japanese: この上段の間の書院造りの様式は、規模の差はともかく、武家屋敷の座敷には必ず採用されていった。
English: The Chudan no ma in the Nijo-jo Castle was down one step from the Jodan no ma and especially high class attendants of the ceremony were seated in accordance to their ranks.
Japanese: 二条城の中段の間は、上段の間より一段下がり、対面の儀式の参列者の中でも、特に官位・階位の高いものが、その順位で座した。
English: The combination of these blue pictures on partitions with the chodaigamae Tofusuma door in the Jodan no ma and the Fusuma-e in the Gedan no ma shows a magnificent panorama picture.
Japanese: この紺碧障壁画は、上段の間の帳台構えの戸襖と、さらに下段の間の襖絵と一連の構成をなした、雄大なパノラマ絵である。
English: The Gedan no ma was down one more step from the Chudan no ma and attendants or persons who met the Emperor were seated in a strict order of precedence.
Japanese: 下段の間は、中段の間よりさらに一段下がり、厳格な席次で、列席者や対面者が座す。
English: The ceremony of seeing the Emperor was the most important ceremony for a samurai family to demonstrate its status or power, and was a ceremonial place to swear loyalty to the master's house.
Japanese: 対面の儀式は、階層社会である武家にとっては、最も重要な儀式で、武家の格式や威厳を誇示するもので、主家に対する忠誠を誓う儀式の場でもある。
English: All of the daimyo (Japanese territorial lord) and court nobles who attended the ceremony went down to Gedan no ma and watched the Noh play.
Japanese: 対面の儀式の列席者の大名や公家たちも、全員下段の間に移って、能を見物した。
English: It is a term which is opposed to the term 'Kara-e,' i.e., paintings in Chinese style, and it refers to the painting in Japanese style which was developed in the era of the Kokufu Bunka (Japan's original national culture) during the Heian period.
Japanese: 中国風の絵画「唐絵」（からえ）に対する呼称であり平安時代の国風文化の時期に発達した日本的な絵画のこと。
English: It had been succeeded by Tosa school, and so on and affected Japanese-style painting in recent and modern times.
Japanese: 土佐派などの流派に受け継がれ、近代・現代の日本画にも影響を及ぼしている。
English: The Kano-ha school integrated the tradition of Yamato-e and the technique and subject of Suiboku-ga (ink painting) in China.
Japanese: 狩野派は大和絵の伝統と、中国の水墨画の技法・主題を統合したと評される。
English: It is difficult to define what kind of paintings the term 'Yamato-e' refers to clearly, and its sense and usage are subtly different depending on the period.
Japanese: 「大和絵」とはどのような絵画を指すかを明確に定義付けすることは困難であり、時代によって意味・用法が微妙に異っている。
English: It is clear that 'Yamato-e' is a term or a concept which is opposed to the term 'Kara-e' (pictures of Han).
Japanese: 明らかに言えることは、「大和絵」とは「唐絵」（漢画）に対置される用語・概念であるという点である。
English: The term 'Kara-e' refers to not only paintings imported from China to Japan, but also ones in 'Chinese style' drawn by Japanese.
Japanese: 「唐絵」とは中国から日本へ舶載された絵画のみならず、日本人の手になる「中国風」の絵画をも指す。
English: The 'Chinese style' in this case relates to both subjects (themes) and the way of painting, and it can be said that Kara-e are the pictures that depict Sansui (landscape, hills and rivers) and customs in the style of Chinese painting.
Japanese: この場合の「中国風」とは画題（テーマ）、画法の両面にわたるものであり、中国風の山水、風俗などを中国風の画法で描いたものが唐絵であるといえる。
English: In contrast, Yamato-e refers to paintings that depict landscape and customs in Japan (instead of China) primarily.
Japanese: これに対し、大和絵とは、第一義的には日本（中国ではなく）の風景や風俗を題材にした絵画を指した。
English: After medieval times when the paintings of Sung and Yuan such as ink-wash paintings were accepted mainly by the temples of the Zen sect and ink-wash paintings and pictures of Han (by Kano School, and so on) were produced, the paintings in the traditional style with characteristically dark colors were called Yamato-e.
Japanese: 中世以降、禅林を中心に水墨画など中国宋(王朝)・元(王朝)の絵画が受容され、日本でも水墨画や漢画（狩野派など）が制作されるようになると、これに対して濃彩を特色とした伝統的な描法・様式で描かれた絵画を大和絵と称するようになった。
English: The term Yamato-e has been generally written as '大和絵' in kanji (Chinese characters) since recent times, but it had been also written as '倭絵' or '和絵' before recent times, and in some cases the word '日本画' was also read as 'Yamato-e.'
Japanese: 近代以降は「大和絵」の表記が一般的となっているが、近世以前には「倭絵」「和絵」などとも表記され、「日本画」と書いて「やまとえ」と読むこともあった。
English: In 1993 the Tokyo National Museum held a special exhibition of representative Yamato-e works titled 'Yamato-e, Miyabi no keifu (Japanese style paintings, genealogy of refinement),' and it defined the term 'Yamato-e' as the 'paintings originated from dynastic arts.'
Japanese: 1993年、東京国立博物館は大和絵の代表作を集めた特別展を開催したが、同館は展覧会の名称を「やまと絵　雅（みやび）の系譜」とし、「やまと絵」とは「王朝美術の流れを引くもの」であると規定していた。
English: The Tang, which had strong political and cultural effects in Asia, declined at the end of the 9th century, and fell at the beginning of the 10th century.
Japanese: アジア一帯に強力な政治的・文化的影響を及ぼした唐は、9世紀末には国力が衰え、10世紀初頭には崩壊した。
English: It is said that various countries became less influenced by China and each developed their own culture around that time.
Japanese: アジア諸地域ではこの頃から中国の影響を離れ、文化の地方化が進んだといわれている。
English: In Japan the Kentoshi (Japanese envoy to China in the Tang Dynasty) was abolished in 894 and in the 10th century, the so-called the Kokufu Bunka, which was unaffected by Tang, flourished.
Japanese: 日本においては894年に遣唐使が中止され、10世紀には唐の影響を脱した、いわゆる国風文化が栄えるようになった。
English: Specifically, kana (Japanese syllabary - alphabet) was devised based on kanji (Chinese characters), waka (a traditional Japanese poem of thirty-one syllables) and chronicles were described, and wayo shodo (literally, "Japanese calligraphy") was established, and there was speculation that Yamato-e also appeared around that time.
Japanese: 漢字をもとに仮名が考案され、和歌や物語文学が興隆し、和様書道が成立したことなどがその具体的な現れであり、大和絵の出現もこの頃と推量される。
English: The first appearance of 'Yamato-e' as opposed to Kara-e was considered as the section dated December 15, 999 in the dairy of FUJIWARA no Yukinari, 'Gonki,' in which it was recorded that Yukinari, who was famous for good penmanship in those days, wrote letters on the 'Yamato-e yonshaku byobu' (folding screen of 1.2 meter width with Yamato-e).
Japanese: 唐絵に対する「やまと絵」の語の初出は、藤原行成の日記「権記」の長保元年（999年）10月30日条とされ、そこには「倭絵四尺屏風」に、当時能書として評判の高かった行成が文字を書き入れたことが記録されている。
English: In the volume of 'Eawase' (A Picture Contest) in " Genji Monogatari" (The Tale of Genji), which was written around the same time (from the end of the 10th century to the beginning of the 11th century), narrative paintings such as "Taketori Monogatari" (The Tale of the Bamboo-Cutter), "Utsuho Monogatari" (The Tale of Utsuho) and "Ise Monogatari" (The Tales of Ise) were described.
Japanese: 同じ頃（10世紀末-11世紀初）の成立である『源氏物語』「絵合」の巻には『竹取物語』『宇津保物語』『伊勢物語』などの物語絵が登場する。
English: Of course, "Genji" is a fiction, but it can be thought that it reflected the situation that the paintings based on Japanese tales were enjoyed among the Imperial Court and aristocratic society in those days.
Japanese: むろん『源氏』はフィクションであるが、当時の宮廷や貴族社会において日本の物語を題材にした絵画が享受されていたことが『源氏』にも反映されていると見てよいであろう。
English: As to earthen pictures other than Buddhist paintings, many large-sized Yamato-e works must have been done on shoji (a paper sliding door) and folding screens for furnishing or partitioning in the Imperial Court or the residence of aristocracy, but only particular examples related to shrines and temples remain in existence.
Japanese: 仏教関係以外の世俗絵画としてはは、宮廷や貴族の邸宅内の調度や間仕切りのため、大和絵の障子、屏風などの大画面の作品が多数制作されたはずだが、現存するものは社寺関係のやや特異な遺品のみである。
English: As a Yamato-e painter from the early part to the middle of the Heian period, KOSE no Kanaoka and KOSE no Omi of Kose School and ASUKABE no Tsunenori were known, but their works did not exist now so it is a pity that we can not trace the history of their styles from their original works.
Japanese: 平安時代前期～中期の大和絵の絵師としては、巨勢派（こせは）の巨勢金岡（こせのかなおか）、巨勢相覧（おうみ）や飛鳥部常則（あすかべのつねのり）などの名が伝わるが、これらの絵師には現存する確実な遺品はなく、実作品からその作風の変遷をたどることは残念ながらできない。
English: As to Emakimono, the existing oldest works are those produced around the 12th centuries such as the "Genji Monogatari Emaki," and there were no existing narrative paintings produced before the 11th century, and it is a pity that the reality of this situation and the history of its style are not clear.
Japanese: 絵巻物にしても、現存するものは『源氏物語絵巻』など12世紀頃の作品が最古であり、11世紀以前の物語絵で現存するものはないので、その実態や様式の変遷については、不明と言わざるをえない。
English: The first pointed out as existing Yamato-e works produced during the Heian period is Emakimono.
Japanese: 現存する平安時代の大和絵の遺品としてまず挙げられるのは絵巻物である。
English: The four major picture scrolls, that is, "Genji Monogatari Emaki," "Ban Dainagon Ekotoba" (picture scrolls about Conspiracy of Otenmon gate), "Shigisan Engi" (legends of Mt. Shigi) and "Choju-Jinbutsu-giga" (picture scroll drawn animals and people caricatured) are considered to be produced during the end of the Heian period (in the 12th century) (however, two among the four volumes of "Choju-Jinbutsu-giga" were produced during the Kamakura period).
Japanese: 四大絵巻と称される『源氏物語絵巻』『伴大納言絵詞』『信貴山縁起』『鳥獣人物戯画』はいずれも平安時代末期12世紀の制作とされている（ただし『鳥獣人物戯画』4巻のうち2巻は鎌倉時代制作）。
English: It is clear that many large-sized Yamato-e such as those drawn on folding screen or shoji were produced other than those on small-sized screens from records, but only few of them remain.
Japanese: 小画面の絵巻のほかに屏風、障子などの大画面の大和絵も多数作られたことは記録からは明らかだが、現存する遺品は非常に少ない。
English: It was brought to the To-ji Temple in Kyoto and was a folding screen placed in the dojo (place of Buddhist practice or meditation) for the ritual of Esoteric Buddhism.
Japanese: 京都・東寺に伝来したもので、密教の儀式の道場に立てられた屏風である。
English: Originally it was a mural painting at edono (a painting placed in a building to be adored) in the Toin of Horyu-ji Temple and it is framed at present.
Japanese: もと法隆寺東院の絵殿の壁画だったもので、現在は額装に仕立てられている。
English: The name of the painter was HATA no Munesada, and it was done in 1069.
Japanese: 延久元年（1069年）、秦致貞（正確な読み方は不明だが通常「はたのむねざね」と読む）という作者の名前も判明している。
English: Although they are Buddhist pictures of the Jodo sect subjects being 'Kuhon-raigo' (nine Amidabha Buddha coming on purple clouds from each Gokurakujodo (Buddhist paradise) to welcome the spirits of the dead), the landscapes in Yamato-e style are drawn on the background, so that it is also valuable as one of the few historical artifacts from the Heian period.
Japanese: 「九品来迎」（くほんらいごう）を主題とする浄土教系の仏教絵画であるが、背景には大和絵風の山水が描かれており、平安時代にさかのぼる数少ない大和絵資料としても貴重。
English: Joya no Age-taimatsu (Age-daimatsu) Festival is a festival at Aza Joya, Maizuru City, Kyoto Prefecture.
Japanese: 城屋の揚松明（じょうやのあげたいまつ、あげだいまつ）とは、京都府舞鶴市字城屋のお祭り。
English: It is on a list of cultural property designated and registered by Kyoto Prefecture as an intangible folk cultural asset.
Japanese: 京都府指定・登録文化財一覧無形民俗文化財無形民俗文化財に指定されている。
English: In the old days, the festival began around 12 midnight, however, these days it starts around 8 p.m. when boys (shrine parishioners) get together, and after that, they purify themselves at a river, hold small jacklights in their hands around at 10 p.m. and throw them at and kindle a large jacklight about 16m in length while shouting.
Japanese: 古くは深夜0時頃から始められていたが、近年は、20時頃に少年たち（氏子）が集まり川で身を清めた後、22時ごろにはそれぞれが小松明を持ち5丈3尺（約16m）以上の大松明にむかって叫びながら投げ、点火するもの。
English: When the large jacklight is burning sufficiently, the shrine parishioners bring down the jacklight, the scene of a rolling sparking fire becomes a gorgeous spectacle.
Japanese: 充分に火が点灯したのちは、氏子たちが大松明を倒すが、その様相や舞う火の粉の光景は壮大。
English: Maizuru Tourist Association (within the Group for creating attractive town of the Industrial Development Office of Maizuru city hall) (Phone: 0773-66-1024)
Japanese: 舞鶴観光協会（舞鶴市役所産業振興室まちの魅力づくりグループ内）(TEL0773-66-1024)
English: Kanshitsuzo (literally, dry lacquer technique) is one of the oriental wood statue production techniques, in which a statue is formed by layering pieces of hemp cloth soaked in lacquer over a core, and a wood powder and lacquer mixture was thickly applied to create surface details.
Japanese: 乾漆造（かんしつぞう）とは、東洋における彫像制作の技法の1つで、麻布を漆で張り重ねたり、漆と木粉を練り合わせたものを盛り上げて像を形づくる方法である。
English: The kanshitsuzo technique originates in China, where the technique is called '夾紵' (kyocho in Japanese pronunciation) or '塞' with semantic determinative 土 on the left side (soku in Japanese pronunciation).
Japanese: 乾漆造の源流は中国にあり、中国では「夾紵」（きょうちょ）あるいは「ソク（土扁に「塞」）」と呼ばれた技法である。
English: In Japan, the technique was frequently used for Buddhist statues from the end of the 7th century to the 8th century, and declined during Heian period or later.
Japanese: 日本では7世紀末から8世紀にかけて仏像の制作に多用されたが、平安時代以降は衰退した。
English: Kanshitsuzo has two types: 'Dakkatsu-kanshitsuzo,' the hollow dry lacquer technique, where pieces of hemp cloth soaked in lacquer are layered to a thickness of 1 cm; and 'mokushin-kanshitsuzo,' wood-core dry lacquer technique, which is a simplified version of the former dry lacquer technique.
Japanese: 乾漆造には麻布を1センチほどの厚みに貼り重ねて形成する「脱活乾漆造」と、これを簡略化した技法と思われる「木心乾漆造」がある。
English: First, the framework of the statue is made using shingi (a wooden core), over which clay is applied to create a rough statue.
Japanese: まず、木製の芯木で像の骨組みをつくり、その上に粘土（塑土）を盛り上げて像の概形をつくる。
English: Mugi-urushi is a paste mixture of urushi (lacquer) and wheat flour, which creates a strong bond.
Japanese: 麦漆とは漆に麦粉（メリケン粉のようなもの）を混ぜてペースト状にしたもので、接着力が強い。
English: While the size of each hemp piece and thickness of the hemp layer vary from statue to statue, the hemp layer is typically made into roughly about 1-cm thickness.
Japanese: 麻布の大きさ、貼り重ねる厚さなどは像によって異なるが、おおむね1センチほどの厚さにする。
English: To basic statue formed in this way, makko-urushi or kokuso-urushi is applied to build up the details of the statue.
Japanese: こうしてできた張り子の像の上に抹香漆（まっこううるし）または木屑漆（こくそうるし）を盛り上げて細部を形づくる。
English: Makko-urushi is a mixture prepared by adding leaf powder of cedar, pine tree, and so on, to mugi-urushi; kokuso-urushi is a mixture prepared by adding cypress sawdust, textile scraps, and so on, to mugi-urushi.
Japanese: 抹香漆とは、麦漆にスギ、マツなどの葉の粉末を混ぜたものであり、木屑漆とは麦漆におがくず（ヒノキ材をのこぎりで曳いた際のくず）や紡績くずなどを混ぜたものである。
English: When the whole shape of the statue had been modeled, the clay inside the core is scraped out from a hole which was cut in an inconspicuous place such as on the back of the statue; then wooden framework is placed inside the statue for reinforcement and to prevent warpage.
Japanese: なお、像の形が完成した後は、背面などの目立たない部分を切開して中味の塑土を掻き出し、補強と型崩れ防止のために内部に木枠を組む。
English: Statues made with this method still exist including at Hokkedo (Sangatsudo) in Todai-ji Temple, Kofuku-ji Temple, and Toshodai-ji Temple, many of which are some of the most celebrated works in the history of sculpture in Japan.
Japanese: この技法による像は、東大寺法華堂（三月堂）、興福寺、唐招提寺などに現存し、日本彫刻史上著名な作品が多く含まれる。