nntsuzu/KFTT huggingface dataset:
English: In 1948, Makino Movies was established as an affiliate and the studio produced "Sakura Goten" (Cherry Palace) directed by Shinzo and featured a cast headed by Miyagi and other actresses, who used to be in the Takarazuka Revue, such as Noboru KIRITACHI.
Japanese: 1948年（昭和23年）には、傘下に「マキノ映画」を設立、真三が監督、宮城が主演、霧立のぼるら宝塚歌劇団出身の女優を配した『桜御殿』を製作した。
English: Makino Eiga was established as an affiliate of the company to expand its business.
Japanese: 手広く事業を広げた同社が子会社として設立したのが「マキノ映画」である。
English: The first film produced was "Sakura Goten" directed by Shinzo MAKINO, starred Chikako MIYAGI with a screenplay by Fuji YAHIRO.
Japanese: 設立第1作『桜御殿』はマキノ真三自らが監督、宮城千賀子が主演、脚本に八尋不二を起用。
English: Shooting was supported by Ko MATSUI who was involved in many films by Utaemon ICHIKAWA Productions before the war.
Japanese: 撮影は戦前の市川右太衛門プロダクションから大都映画で量産した松井鴻が支えた。
English: Other actors and actresses featured in these productions included Noboru KIRITACHI, who used to be in the Takarazuka Revue just as Miyagi was, Orie Tsusaka, the second-year member of Shochiku Kageki Dan (SSKK), and singer Tomiko HATTORI who also appeared in "Oshidori Utagassen" (A singing contest among couples: 1937), which was directed by Shozo's older brother Masahiro MAKINO before the war.
Japanese: また、共演者に宮城とおなじ宝塚出身の霧立のぼる、松竹歌劇団（SSKK）第2期生のオリエ津坂、真三の兄・マキノ雅弘が戦前に撮った『鴛鴦歌合戦』（1937年）にも出演した歌手の服部富子を配した。
English: Distribution of "Sazaesan," produced in the same manner, was handled by Shochiku; however, since its parent company, Makino Geinosha, dissolved in October 1948, Makino Eiga was also forced to close.
Japanese: 同様の枠組みで製作した『サザエさん』の配給は松竹が行なったが、同社は1948年10月に親会社の「マキノ芸能社」が解散したため、畳まざるを得なくなった。
English: The last film, "Tetsuro no bara" (roses on the railway), used Machiko ASHITA, the star of Moulin Rouge Shinjukuza; however, film rights were sold to Toei after its dissolution.
Japanese: 最終作の『鉄路の薔薇』にはムーランルージュ新宿座のスター・明日待子を起用したが、解散後に東宝に上映権を売却している。
English: A sequel, "Sazaesan nodo jiman utagassen" (Sazaesan, an amateur singing contest: 1950) starred by Tonko AZUMAYA was shot at Toyo Studio with the same cast and staff, and distributed by Daiei Film Company.
Japanese: 東屋トン子主演の続編『サザエさんのど自慢歌合戦』（1950年）は、「東洋スタジオ」がまったく同様のキャスト・スタッフで製作し、大映が配給している。
English: Toyoko Film Company (established June 8, 1938 and merged on March 31, 1951) was Japan's film company, but it no longer exists.
Japanese: 東横映畫株式會社（とうよこえいが-、1938年6月8日設立-1951年3月31日合併）は、かつて存在した日本の映画会社である。
English: After World War II, the company began producing movies at the Daiei No. 2 Studio at Uzumasa, Kyoto, by people from the former Manchuria Film Association.
Japanese: 第二次世界大戦後に旧満洲映画協会（満映）のメンバーを中心にして、京都・太秦の「大映第二撮影所」で劇映画を製作した。
English: The company was established on June 8, 1938 as an affiliate of Tokyo Yokohama Dentetsu (Tokyo Yokohama Electric Railway), which later became Tokyu Corporation.
Japanese: 1938年（昭和13年）6月8日、東京横浜電鉄（のちの東京急行電鉄）の子会社として設立した。
English: The company commenced operations with Keita GOTO from Tokyo Yokohama Dentetsu as the president, having capitalization of 300,000 yen, and functioned as a performance-facility management company.
Japanese: 社長は同電鉄の五島慶太、資本金は30万円、興行場の会社としてスタートした。
English: The company managed the Toyoko News Theatre, which had opened in Shibuya in March 1938, and the Gotanda Toyoko Theatre, which opened in November of the same year.
Japanese: 設立に先立つ同年3月、渋谷に開場した「東横ニュース劇場」、同年11月に開場した「五反田東横劇場」を経営する。
English: In 1943, Showa Kogyo, Shinjuku Kogyo and Keihin Kogyo merged, increasing their capital to 500,000 yen, and the company expanded to manage a total of seven theaters.
Japanese: 1943年（昭和18年）、昭和興業、新宿興業、京浜興業を合併して資本金を50万円に増資、劇場を7館に増やす。
English: On the first day of 1946, a three-screen movie theater opened within the Toyoko Department Store in Shibuya for screenings of Daiei and Shochiku movies, and three other theater opened as well.
Japanese: 明けて1946年（昭和21年）1月1日、渋谷の東横百貨店内に大映作品と松竹作品を公開する映画館3スクリーンのほかに、3つの劇場をオープンする。
English: Within the same year, the Gotanda Toyoko Theatre was reconstructed, a movie theater opened in Shinjuku and Tamagawaen was purchased, increasing the capital to three million yen.
Japanese: 同年内に五反田東横映画劇場を再建、新宿に映画館を開き、「多摩川園」を吸収合併し、資本金を300万円に増資した。
English: In November, movie production and distribution were added to the articles of incorporation, and the company moved forward in cooperation with Daiei.
Japanese: 同年11月、同社の定款に映画の製作・配給を加え、大映との提携を進めた。
English: In 1947, an agreement was executed with Daiei and preparations began to produce movies at the Daiei No. 2 studio.
Japanese: 1947年（昭和22年）、大映との協定を結び、「大映第二撮影所」を借りて製作する準備が始まる。
English: In September, capital was increased to twenty million yen and the Daiei No. 2 studio became the Toyoko Movie Studio, commencing movie production by people from the former Manchuria Film Association.
Japanese: 同年9月、資本金を2,000万円に増資、同撮影所を「東横映画撮影所」とし、旧満映のメンバーを中心に製作を開始した。
English: The first movie produced was "Kokoro Tsuki no gotoku" (My Heart Is Like the Moon), directed by Hiroshi INAGAKI and starring Ken UEHARA and Yukiko TODOROKI.
Japanese: 設立第1作は稲垣浩監督、上原謙・轟夕起子主演による『こころ月の如く』であった。
English: In May 1949, capital was increased to fifty million yen, and in September of that year Ryotoku HIGA was appointed president, taking over the post formerly held by Kurokawa.
Japanese: 1949年（昭和44年）5月、資本金を5,000万円に増資、同年9月、黒川に代り比嘉良篤が社長に就任した。
English: On October 1, 'Tokyo Eiga Haikyu' (Tokyo Film Distribution Company) was established and the distribution operation was transferred from Daiei to the new company.
Japanese: 同年10月1日、映画配給会社「東京映画配給」を設立、従来の大映から配給を移管した。
English: The first movie after the establishment of the distribution company was "Jigokumon" (Gates of Hell), directed by Sadatsugu MATSUDA and starring Chiezo KATAOKA; it was released on November 20.
Japanese: 移管後の第1作は松田定次監督、片岡千恵蔵主演による『獄門島』で、同年11月20日から公開された。
English: On April 1, 1951, Toyoko Film Company, Oizumi Films and Tokyo Film Distribution Company merged to establish Toei.
Japanese: 1951年（昭和26年）4月1日、東横映画、太泉映画、東京映画配給の3社が合併して「東映」となる。
English: Toyoko Movie Studio became the Toei Kyoto Movie Studio and the Oizumi Movie Studio became the Toei Tokyo Movie Studio, and the distribution and box office operation of the Tokyo Film Distribution Company was reorganized as Toei Company, Ltd., comprising the head office, branch office and directly managed movie theaters.
Japanese: 東横映画撮影所は「東映京都撮影所」に、太泉映画スタジオは「東映東京撮影所」になり、東京映画配給の配給・興行の機構は、本社および支社、直営館として東映を構成した。
English: Nishi-Honganji-bon sanju-rokunin-kashu is a decorative manuscript produced at the end of the Heian period that compiled the poems of Sanju-rokkasen (thirty-six famous poets).
Japanese: 西本願寺本三十六人家集（にしほんがんじぼんさんじゅうろくにんかしゅう）は、三十六歌仙の和歌を集めた平安時代末期の装飾写本である。
English: It is the oldest one among the manuscripts of poems of Sanju-rokkasen, and it is designated as a national treasure.
Japanese: 三十六人家集のまとまった写本としては最古のもので、国宝に指定されている。
English: It consists of 39 books in total since the collection of KAKINOMOTO no Hitomaro, KI no Tsurayuki and ONAKATOMI no Yoshinobu were allotted two books for each.
Japanese: 柿本人麻呂集、紀貫之集、大中臣能宣集については上下2帖構成とするため、全体では39帖からなる。
English: Among them, the collections of Ise (poet) and Tsurayuki were split into dankan (fragmentary pieces of a book) in 1929.
Japanese: このうち、伊勢(歌人)集と貫之集下は1929年に冊子の形を解体して一葉ずつの断簡に分割された。
English: These dankan were named 'Ishiyamagire' after the name of place where Hongan-ji Temple was located previously, and they are being possessed by museums and collectors across the nation in the form of hanging scroll etc.
Japanese: これらの断簡は本願寺の旧所在地にちなんで「石山切」（いしやまぎれ）と名付けられ、掛軸などに改装されて各地の美術館や収集家に分蔵されている。
English: Nishi Hongan-ji Temple possesses 32 books of original manuscript produced in the Heian period (around 1110), one book of supplemental manuscript (FUJIWARA no KANESUKE) produced in the Kamakura period, four books of supplemental manuscript (volume one and two of Hitomaro' Collection, ARIWARA no Narihira's Collection, ONO no Komachi's Collection) produced in the Edo period and two restored copied books drawn by Shinbi TANAKA around in 1929.
Japanese: 西本願寺に所蔵されるのは、平安時代（1110年頃）の原本が32帖、鎌倉時代の補写本が1帖（藤原兼輔）、江戸時代の補写本が4帖（人麻呂集上・下、在原業平集、小野小町集）、1929年（昭和4年）頃の田中親美（たなかしんび）の復元模写本が2帖である。
English: 37 books other than two books drawn in the Showa era are designated as a national treasure together with a scroll of "Imperial letter of the Emperor Gonara nyobo hosho" ("nyobo hosho" is a letter sent by the Court ladies by imperial order).
Japanese: 昭和の補写本2冊を除く37帖が、付属の後奈良天皇宸翰女房奉書1幅と共に国宝に指定されている。
English: It is a 20cm-by-16cm paper book, and detcho-so (a kind of binding technique) was employed for binding.
Japanese: 体裁は縦約20cm、幅約16cmの紙本で、装丁は粘葉装（でっちょうそう）。
English: Every and all paper decoration techniques, such as colored preliminary sketch, gold leaf and silver leaf, mica-printed jimon (textile pattern), suminagashi (pattern made with ink drop) and yaburitsugi (Heian-style collage technique to decorate poetry sheets), were employed in producing each book.
Japanese: 各帖には彩色下絵、金銀の箔、雲母（きら）刷りの地紋、墨流し、破り継ぎなど、あらゆる料紙装飾技法が駆使されている。
English: It is one of the most luxurious ones among the existent decorated manuscripts produced in the Heian period.
Japanese: 伝世した平安時代の装飾写本の中で、最も豪華な装飾が施されたものの一つである。
English: It is surmised that it was produced in 1112 by the Imperial Court in celebration of the 60th birthday of the Emperor Shirakawa.
Japanese: 制作事情については、天永3年（1112年）の白河天皇の六十の賀に際して宮廷で制作されたと推定されている。
English: It had been kept at the Imperial Court for long since then, and the Emperor Gonara gave it to Shonyo of Hongan-ji Temple in 1549.
Japanese: その後長らく宮中に伝来したが、天文18年（1549年）に後奈良天皇から本願寺証如に与えられた。
English: Imperial letter of the Emperor Gonara nyobo hosho,' which is also designated as a national treasure, is material concerning the above history.
Japanese: 国宝の付属指定とされている「後奈良天皇宸翰女房奉書」はこの伝来に関わる資料である。
English: Yokota Shokai (founded in June 1903, consolidated in September 1921) is a Japanese film company once existed in Kyoto.
Japanese: 横田商會（よこたしょうかい、1903年6月設立-1912年9月合併）は、かつて京都に存在した日本の映画会社である。
English: Katsutaro INABATA, an alumnus of Lumiere, bought two pieces of 'cinematograph' from Auguste LUMIERE.
Japanese: リュミエールの同窓生・稲畑勝太郎はオーギュスト・リュミエールから2台の「シネマトグラフ」を購入していた。
English: On 15th February 1897, Inabata showed the first cinematograph at Nanchi Enbujo Theater (later Nangai Kaikan Theater).
Japanese: 1897年（明治30年）2月15日に大阪の南地演舞場（のちの南街会館）で初めてのシネマトグラフ興行を行った。
English: He entrusted cinematograph business in Kansai region to Einosuke TAKAGI (later Einosuke YOKOTA, hereinafter referred to as "Yokota").
Japanese: 友人の高木永之助（のちの横田永之助、以下横田）に関西での興行を託した。
English: In 1900, Yokota visited the Paris World Exposition (1900) with Inabata and his brother Masunosuke YOKOTA, and brought back a cinematograph again to restart the business.
Japanese: 1900年（明治33年）、横田は稲畑、兄の横田万寿之助とともに、パリ万国博覧会(1900年)を視察し、新たにシネマトグラフを持ち帰り、ふたたびシネマトグラフの興行を始める。
English: In June 1903, Yokota with his older brother started 'Yokota Kyodai Shokai' (Yokota Brothers Film Studio) in Kyoto, and later renamed 'Yokota Shokai.'
Japanese: 1903年（明治36年）6月、横田は兄とともに、京都に「横田兄弟商会」を開業、のちに「横田商会」と改称する。
English: In the same month, he released a documentary film imported from France at 'Ebisudani-za Theater,' a playhouse in Shinkyogoku.
Japanese: 同月、新京極の芝居小屋「夷谷座」でフランスから輸入したドキュメンタリーフィルムを公開する。
English: In 1905, he opened a development factory in Shinsen-en Temple to start development in the company.
Japanese: 1905年（明治38年）、神泉苑に現像場を開設、自社での現像を開始する。
English: In March 1907, he entered into special agreements with 'Kaku-za Theater' in Osaka ad 'Kinki-kan Theater' in Kanda, Tokyo to start to show films there.
Japanese: 1907年（明治40年）3月、大阪「角座」と東京・神田区の「錦輝館」と特約を結び、ここでの映画興行を始めた。
English: On 7th July of the same year, he opened 'Sennichimae Denkikan Theater' in Sennichimae, Osaka, which was the second theater specialized in film after Asakusa and the first in Kansai region.
Japanese: 同年7月7日、大阪の千日前に、浅草についで国内2館目、関西初の映画専門劇場「千日前電気館」をオープンした。
English: In June 1908, Shigekazu FUKUI, a cameraman of Yokota Shokai's documentary film "Kankokukan" (view of Korea), was appointed film director to produce the first drama film "Imori no kuroyaki" (burnt newt), which was released on 25th of the month.
Japanese: 1908年（明治41年）6月、同社のドキュメンタリー映画『韓国観』の撮影技師・福井繁一を監督に起用し、同社初の劇映画『いもりの黒焼』を製作、同作を同月25日に公開した。
English: Futher, the company asked formerly mentioned Shozo MAKINO who managed 'Senbon-za Theater' which showed films in Kyoto.
Japanese: さらに、同社が京都で映画興行を行っていた先の「千本座」を経営する牧野省三に映画製作を依頼した。
English: Makino accepted the offer to direct "Honnoji Kassen" (Battle of Honno-ji Temple), with Fukunosuke NAKAMURA and Ritoku ARASHI as the main casts and Makita OGAWA as a cameraman.
Japanese: 牧野はこれを引き受け、「日本初の時代劇映画」と呼ばれる『本能寺合戦』を監督、同作は、中村福之助、嵐璃徳を主演に小川真喜多がカメラを回した。
English: In July 1910, the company opened the first film studio of its own at Seihokukado, Oshikoji-dori Street, Jogakko-dori Street, very close to Nijo-jo Castle, and named it 'Yokota Shokai Nijo-jo Studio.'
Japanese: 1910年（明治43年）7月、二条城至近の押小路通女学校通西北角に同社初の撮影所をオープン、「横田商会二条城撮影所」とした。
English: In the same year Makino found Matsunosuke ONOE and selected him as the hero of "Goban Tadanobu Genji no Ishizue" (Goban Tadanobu, the foundation of Minamoto clan).
Japanese: また同年、牧野が尾上松之助を発見、『碁盤忠信源氏礎』の主演に抜擢した。
English: In January 1912, 'Yokota Shokai Hokkedo Studio' with a glass stage was newly opened in Onmae-dori Street, Ichijo-dori Street Sagaru, and Nijo-jo Studio was closed after its function was transferred.
Japanese: 1912年（大正元年）1月、御前通一条通下ルにグラスステージをもつ「横田商会法華堂撮影所」を新たにオープン、二条城撮影所は機能を移転して閉鎖した。
English: In September of the same year, the company established 'Japan Moving Picture Co., Ltd.' (Nikkatsu) as a result of consolidation of four companies including Fukuhodo, Yoshizawa Shoten, and M. Pathe Company.
Japanese: 同年9月、福宝堂、吉沢商店、M・パテー商会との4社合併で「日本活動写真株式会社」（日活）を設立した。
English: Hokkedo Studio' was succeeded as 'Nikkatsu Kansai Studio' and Yokota later became chairman of Nikkatsu.
Japanese: 「法華堂撮影所」は「日活関西撮影所」として引き継がれ、横田はのちに日活の社長に就任した。
English: Its shape was exactly similar as hitoe (a single layer of kimono) and was small and short.
Japanese: その形は単（ひとえ）とまったくおなじで、こぶりで、みじかいものであった。
English: It was worn over the hitoe only during summer in medieval times as the name suggests, but it was later worn throughout the seasons to wear a kimono properly not to allow it to come loose, and aka-katabira (red light hemp garment) was worn during summer while shiro-katabira (white light hemp garment) was worn during winter.
Japanese: 中世にはその名のとおり、夏だけ単にかさねて着たものであったが、のちに四季を通じて衣紋を保たせるために着て、通例、夏は赤、冬は白帷であった。
English: Color used from long ago ranged from shiro (white), moegi (yellowish green), ko (yellowish light red), ai (indigo) ("Gyokuyo" [Diary of FUJIWARA no Kanezane]), zuri, kurenai (crimson), aka (red) ("Sankaiki"[Diary of Tadachika NAKAYAMA]), and asagi (light yellow) ("Makura no soshi" [the Pillow Book] and "Tamagusuri" [Gunpowder]).
Japanese: 色目にはふるくから白、萌黄、香、（「玉葉」）藍、摺、紅、赤（「山槐記」）浅黄（「枕草紙」「玉薬」）などであった。
English: (2) It was a robe worn by buke (samurai family members) below hitatare (a kind of court dress in old days) of hitoe made with a white cloth crisply starched.
Japanese: (2)武家で、糊を強くひいた白布で仕立て、単の直垂の下に重ねて着た衣。
English: Regarding its appearance, it had an end sleeve without an okumi (a kind of gusset, a long rectangular cloth sewn onto the front side of a kimono) and had a similar shape as hitatare without a breast cord.
Japanese: 形状は、おくみがなく端袖のあるもので、直垂とほぼ同型で胸紐のないものである。
English: (3) From the Kuge (court noble) Muromachi period, instead of hitoe, akome (inner wear) and shitagasane (long inner robe), the okatabira was worn with the sleeves of shitagasane attached or with the sleeves of hitoe sewn on as the end sleeves, disguising as if the okatabira, shitagasane and hitoe were all worn properly.
Japanese: (3)公家室町時代より単、衵（あこめ）、下襲などを略して、この帷に下襲の襟をつけ、あるいは単の袖の生地を端袖として縫いつけ、これらを重ねたようにみせかけたもの。
English: Its shape lacked okumi and had the end sleeves taken from the sleeves of hitoe as mentioned earlier, having a similar shape as the okatabira of the buke in (2), thus having possibly been derived from it.
Japanese: 形状は、おくみがなく、前述のように単の生地の端袖のあるもので、(2)の武家の大帷に似た形をしており、そこから派生した可能性が高い。
English: The oldest extant okatabira is from the late Muromachi period and owned by Uesugi-jinja Shrine, but its shape did not differ from the early modern one.
Japanese: 最古の遺品は上杉神社所蔵の室町末期のものであるが、その形状は近世のものとかわらない。
English: In addition, at Kamo Festival this okatabira had used until recently, but nowadays an okatabira with the same yuki (distance from the seam in the back of a kimono to the end of the sleeve) as hitoe is used.
Japanese: なお、賀茂祭においては近年までこの大帷子が用いられたが、最近は裄を単と同じにしたものが使われている。
English: Koboku is the ink stick that has gone through the years among Bunboshiho (four stationary goods for calligraphy; writing brush, ink, ink stone and paper), and is recognized as a good quality ink stick.
Japanese: 古墨（こぼく）とは、文房四宝における墨の中で、製造されてから長い年月を経ているものをいい、品質の良い墨とされている。
English: Usually, Chinese ink sticks produced up until the Qing period and Japanese ink sticks until the Edo period can be called koboku.
Japanese: 通常、唐墨は清時代までに、和墨は江戸時代までにつくられたものを古墨と称す。
English: As a rough guide, the ink sticks that have gone through from 20 to 100 years of age show the best ink black.
Japanese: だいたいの目安としては、20年から100年にかけてが最もよい墨色を見せる。
English: Also, as the conditions of koboku, it is necessary that the ink sticks have been made using good materials and with proper manufacturing process.
Japanese: また、古墨の条件としては、よい原料とよい製法を用いていることが前提である。
English: Therefore, if the materials of the ink stick that has gone through many years are coarse and are made with cutting corners, it cannot be called koboku.
Japanese: よって、いくら年月を経ても、原料が粗悪なものであったり、製法に手抜きがあれば、古墨とは呼べない。
English: Especially, it is said that Chinese ink sticks produced in and after the Cultural Revolution in 1966 are bad in quality.
Japanese: 特に1966年の文化大革命以降に中国で製造された唐墨は、品質が悪いとされている。
English: Its materials were soot of burnt pine and graphite, and gelatin and perfume were also used.
Japanese: 原料は松煙とグラファイト（せきぼく）であり、ゼラチン（ニカワ）や香料も使われた
English: The time when smoke black began to be used is not clear, depending on Tang or Sung Dynasty.
Japanese: 油煙が使われ始めたのは、唐とも宋(王朝)ともいわれ、はっきりしない。
English: During the Qing Dynasty the ink sticks with high quality were also made, and long-established stores like Cao Sugong and Hu Kaiwen opened and they still exist now.
Japanese: 清にも良い墨が作られ、曹素功、胡開文などの老舗が開業し現在まで続いている。
English: The ink sticks made from burnt pine were popular until the Ming period, and ink sticks made from lamp soot were rare.
Japanese: 明代までの墨は墨松煙墨（青墨）が普及し、墨油煙墨は特殊な存在であった。
English: With the reversal of conditions, in Qing period the ink sticks made from lamp soot became common and the ones made from burnt pine rare.
Japanese: 清代になって状況が逆転し、油煙墨が常識になり、松煙墨が特殊になった。
English: However, because the method of making ink sticks until Ming period was primitive, the quality of the material (soot) was so good.
Japanese: だが、このころまでの製煙法は原始的であり、それゆえ原料（煤）の品質は非常に良いものであった。
English: But, after that, as the smoke from mineral materials such as heavy oil and lamp oil came to be used, the quality of ink sticks considerably deteriorated.
Japanese: しかし、その後、重油、灯油等の鉱物性の煙が使用されるようになり、品質は格段に下がった。
English: In addition, not to mention the smoke from mineral materials, the making of ink sticks using smoke from burnt pine and plant-derived smoke was mechanized, and as a result the ink black became monotonous and the luster deteriorated.
Japanese: さらに、鉱物性煙はもちろんだが、松煙や油煙の植物性煙の製煙も機械化され、墨色が単調になり、光沢の品位も下がった。
English: In order to obtain the soot, first make a dent on the trunk of rather old pine tree with an ax.
Japanese: 松煙墨の煤の採り方は、まず、かなりの年数を経た松の樹の幹に斧で溝をつける。
English: Catch the soot with a small dish like a lid, then gather the attached soot with a bird feather by scooping.
Japanese: その煤を小皿のような蓋で受け止め、付いた煤を鳥の羽ですくい取るように集める。
English: The ink sticks made from lamp soot can be obtained by burning canola oil, sesame oil or camellia oil with a lamp wick in it.
Japanese: 油煙墨は、菜種油、ごま油、椿油などを小皿に入れ、灯心を立てて燃やす。
English: With a thin wick, and the farther the position to catch the soot is, the finer soot with good quality can be obtained.
Japanese: 細い灯心で炎を小さくし、また炎から遠い所で煤を集めるほど粒子の細かい良質の煤が採れる。
English: Musk as animal perfume and Borneol as plant perfume are prized.
Japanese: 動物性の香りとしては麝香（じゃこう）が、植物性のものでは龍脳（りゅうのう）が珍重される。
English: It is said that this kneading work determines the quality of ink sticks, and the quality largely depends on the techniques of skilled ink stick maker.
Japanese: この練りの作業が品質を左右するといわれ、熟練した墨師の技術に依存される。
English: At first use rather damp ash and replace it with less damp ash every day.
Japanese: 最初はかなり湿った灰を使い、毎日毎日少しずつ湿度の少ない灰に取り換える。
English: Polish the thoroughly dried ink stick, and draw gold or silver patterns on it, and all the process of making ink stick is finished.
Japanese: こうして干し上がった墨に磨きをかけ、金色や銀色などで模様を描き、墨の出来上がりである。
English: Because of this, if the ink stick in this period is used, water and ink does not mix well and the blur becomes rather worse.
Japanese: このため、このような状態の墨を使うと水と墨がなじまず、ひどく汚い滲み方をする。
English: Therefore, it is common for manufacturers to age ink sticks and then ship them.
Japanese: よって、製造元では出来た墨をねかしておいてから出荷するのが普通である。
English: The time and labor consuming traditional way of making ink sticks mentioned above is rarely seen nowadays when the price-reduction by mass production is needed, and the successors of the industry are few.
Japanese: このように時間と手間がかかる昔ながらの墨の製法は、大量生産による低価格化が要求される現代ではほとんど見られなくなり、またその技術の後継者も少ない。
English: Meanwhile, Naraya Honpo, in 2000, started to produce and sell the handmade ink sticks made from burnt pine, and it still sells the ink sticks.
Japanese: 一方、2000年にならや本舗が昭和初期の松煙を使用した手作りによる松煙墨を製造・発売し、現在も販売している。
English: It is renowned as 'O-meibutsu' (great famous objects), which was probably the work of the Southern Sung Dynasty or the Yuan Dynasty; it was intorduced into Japan during the Sengoku period (period of warring states).
Japanese: 古来「大名物」として名高い茶入で、中国の南宋または元(王朝)時代の作と推定され、戦国時代(日本)に日本に渡来した。
English: It is registered as Important Cultural Property under the name of "Karamono Katatsuki Chaire Meihatsuhana."
Japanese: 重要文化財指定名称は、唐物肩衝茶入銘初花（からものかたつきちゃいれめいはつはな）。
English: Insetsu TORII, a disciple of Juko MURATA, came into possession of Hatsuhana from Yoshimasa ASHIKAGA; it then passed into Nobunaga ODA's possession via Sokan HIKITA (Daimonjiya).
Japanese: 足利義正から村田珠光の門人の鳥居引拙の所持となり、大文字屋疋田宗観を経て織田信長の所有となった。
English: In 1577, Nobunaga gave Hatsuhana to his legitimate son, Nobutada ODA, along with other ten tea utensils to celebrate his son's promotion to Sanmi no Chujo (Middle Captain of the Inner Palace Guards), as well as to acknowledge his son's succession to the headship of the family.
Japanese: 天正5年（1577年）、信長は嫡男織田信忠が三位中将に昇進した祝いと家督相続の印として他10種の茶道具とともに初花を贈った。
English: Then, it was presented to Ieyasu TOKUGAWA, and was given to Hideyoshi TOYOTOMI for celebration of his victory in the Battle of Shizugatake in 1583.
Japanese: その後、徳川家康に献上され、天正11年（1583年）賤ヶ岳の戦いの戦勝祝いに豊臣秀吉へ贈られる。
English: After possessing Hatsuhana, Hideyoshi often displayed it in the Principal Tea Ceremony including the first tea ceremony held in the Osaka-jo Castle.
Japanese: 初花を手に入れた秀吉は大阪城初の茶会を始め、たびたび大茶会にこれを飾った。
English: In the wake of the Kyushu Conquest in 1587, "Narashiba Katatsuki" passed into Hideyoshi's possession via Tanezane AKIZUKI; as the result, all the three major Katatsuki (a square-shouldered tea caddy) belonged to Hideyoshi.
Japanese: 天正15年（1587年）、九州征伐により楢柴肩衝も秋月種実から秀吉の手に渡り、天下三肩衝が秀吉の元に揃う。
English: After the death of Hideyoshi, it was handed down to Hideie UKITA; however, it was transferred to Ieyasu again because Hideie was defeated in the Battle of Sekigahara.
Japanese: 秀吉の臨終により宇喜多秀家へ相続されるが、秀家が関が原の戦いに敗れたため再び家康の手に渡る。
English: Tadanao MATSUDAIRA, Ieyasu's grandson (a son of Ieyasu's second son, Hideyasu YUKI), was rewarded with Hatsuhana for his distinguished military service in the Siege of Osaka.
Japanese: 大坂の役で戦功のあった家康の孫・松平忠直（次男・結城秀康の子）に恩賞として与えられた。
English: (One story is that Tadanao was dissatisfied with not being rewarded with fiefs, and smashed Hatsuhana to pieces; however, it might be just a story as far as Hatsuhana exists.)
Japanese: （褒美に領地を貰えなかった事に不満を持ち初花を打ち砕いたという話もあるが、初花が現存しているので作り話と考えられる。)
English: (It is said that Hatsuhana was missing after the death of Tadanao; so MATSUDAIRA Bitchu no kami (Governor of Bitchu Province) presented Hatsuhana that the Echizen family had originally owned to the Shogun family in1689.)
Japanese: （忠直の死亡後に行方不明になり元禄11年（1689年）に元越前家にあった初花を松平備中守が献上したとも。)
English: It is desiganated as Important Cultural Property at present and kept by the Tokukgawa Memorial Foundation in Tokyo.
Japanese: 現在は国の重要文化財に指定され、東京の徳川記念財団に保管されている。