nntsuzu/KFTT huggingface dataset:
English: "Honen Shonin Eden" of both Chionin Temple in Kyoto and Okuin of Taima-dera Temples in Nara (deepest located temple house of Taima-dera Temple) have the largest number of scrolls of an emakimono work, namely 'forty-eight,' which number is compared to 'forty-eight vows' of Amida Nyorai (Amitabha Tathagata).
Japanese: 1つの作品でもっとも巻数が多いのは京都・知恩院と奈良・当麻寺奥院の『法然上人絵伝』で、いずれも全48巻の大作である（「48」という数字は阿弥陀如来の「四十八願」にちなんだもの）。
English: There are some works whose names have the ending of '-emaki' but are nevertheless kept in frames or in vertical hanging scrolls.
Japanese: なお、「○○絵巻」と呼ばれていても、額装や掛軸仕立てになっている作品もある。
English: These works were originally completed in the style of emakimono, but later split off into pieces of illustrated paper either to be fixed in frames for the preservation purpose or to be transferred or sold out to others.
Japanese: これには、元来巻物だったものを保存上の観点から1紙ずつはがして額装にしたものと、分割して譲渡・売却するために、長い巻物を画面ごとに切断したものとがある。
English: A typical example of the former case is "Genji Monogatari Emaki" in the possession of the Gotoh Art Museum and the Tokugawa Art Museum, where emaki is partitioned into each dan (section) of both pictures and texts and set in frames.
Japanese: 前者の典型的な例は『源氏物語絵巻』（五島美術館、徳川美術館蔵）で、厚塗りの絵具が剥落することを恐れて、絵、詞ともに1段ずつ分割して額仕立てになっている。
English: One well-known example of the latter case of emakimono, split into pieces to be transferred, is the Satake version of "Sanju-roku Kasen Emaki" (illustrated scroll of the thirty-six celebrated poets).
Japanese: 後者、すなわち、譲渡のために分割された例として著名なものは佐竹本『三十六歌仙絵巻』である。
English: This work was originally composed of two scrolls of emakimono where each poet's portrait was painted beside his or her profile and representative poem.
Japanese: この作品は、元来は上下2巻の巻物に三十六歌仙それぞれの肖像画を描き、略歴と代表歌を書いたものであった。
English: It was in the Taisho period when this emaki was offered for sale, but since no body was able to purchase it in complete sets, it was divided into pieces of each poet and sold out to different individual buyers (collectors).
Japanese: これが大正年間に売りに出された時に全巻一括で購入できる者がいなかったため、歌仙1名ごとに切り離して、それぞれ別のコレクターに譲渡されたものである。
English: Emakimono are viewed horizontally on a desk, and so on, although other art works are mostly set up vertically for appreciation, like wall paintings, fusumae (paintings on sliding-doors panels), kakejiku (hanging scrolls), byobu (folding screens consisting of multiple and joined panels).
Japanese: 絵画作品は、壁画、襖絵、掛軸、屏風などのように垂直に立てた状態で鑑賞するものが多いが、絵巻物は、机の上などに水平に置いて見下ろす形で鑑賞する。
English: In addition to the above way of viewing, emakimono is generally limited to a narrow vertical length so that many pictures are composed as if they are looked down upon from.
Japanese: この点に加え、天地の幅が狭いという画面形式の制約もあり、絵巻物の画面には斜め上方から見下ろしたような構図のものが多い。
English: In some emakimono depicting the inside of a house, a special composition technique was used to make viewers able to see figures inside the house by eliminating the complete roofs and ceilings.
Japanese: 絵巻物で室内の情景を描いたものの中には、建物内部にいる人物が見えるように、建物の屋根と天井を省略して全く描かないという表現法が使われた。
English: This method of painting, which gives an image of houses with roofs and ceilings missing, is called 'fukinuki-yatai' and can be typically noted in "Genji Monogatari Emaki" and others.
Japanese: あたかも、建物の屋根と天井を取り払ってしまったようなこうした描写方法は『源氏物語絵巻』などに典型的に見られ、「吹抜屋台（ふきぬきやたい）」と称する。
English: This 'fukinuki-yatai' method was applied not only to emakimono, but also to gajo (an album of paintings).
Japanese: なお、「吹抜屋台」は絵巻物に限らず、画帖などにも見られる描法である。
English: This method was used to allow repeated appearances of the same figure in the same scene to show passage of time, as may be seen in such typical screen pages as 'Kodomo no Kenka' (children's fight) in "Ban Dainagon Emaki" and Daibutsu-den (hall of the Great Statute of the Buddha) of Todai-ji Temple in "Shigisan Engi Emaki" (Also known as "Shigisan Engi").
Japanese: これは、同一画面内に同一人物が複数回登場して、その間の時間的推移が示されているもので、『伴大納言絵巻』の「子どもの喧嘩」の場面と、『信貴山縁起絵巻』の東大寺大仏殿の場面がその代表例として知られる。
English: In the latter case of the above, a character of Amagimi (the nun) appears six times in one scene.
Japanese: 後者を例にとると、登場人物の尼公（あまぎみ）が1つの画面に計6回描かれている。
English: This scene is depicting a sequence of events as time goes on in one picture, namely the arrival of Amagimi at Daibutsu-den hall, her pray to the Buddha statue, her overnight stay in the hall in seclusion, and her departure at dawn.
Japanese: これは尼公が大仏殿に到着し、礼拝し、夜通し参篭し、明け方出発するという一連の時間的経過を1枚の絵で表現したものである。
English: Another fundamental difference of emakimono from fusumae, kakejiku, byobu, and other forms of traditional paintings is that emakimono is unable to be overviewed.
Japanese: 絵巻物が襖絵、掛軸、屏風などの形式と根本的に異なるもう1つの点は、作品全体を一度に視野に入れることができないという点である。
English: Although emakimono is exhibited at a museum or any other place by showing a few meters of unfolded part of it is in a glass case, the standard way of appreciation of emakimono is to put it on a desk and scroll with the left hand its left side to see new screens while with right hand is rolling up already viewed scenes on the right side.
Japanese: 絵巻物は、博物館・美術館等においては、ガラスケースの中に、数メートルにわたって広げた状態で展示されるが、本来の鑑賞方法は、作品を机などの上に置き、左手で新しい場面を繰り広げながら、右手ですでに見終わった画面を巻き込んでいくというものである。
English: With this style of emakimono pictures, the vertical length of a picture is limited but its horizontal length is not, which makes it possible to depict a drastic development of any long story on a long space of paper and also to show there the passage of time.
Japanese: このような画面形式では、天地の高さには限界があるが、画面の水平方向の長さには制約がなく、物語の展開などを長大な画面に劇的に表現することが可能であり、そこに時間的な推移を盛り込むこともできる。
English: As a typical example of this feature of emakimono, the first roll of two scrolls of "Ban Dainagon Emaki" has a scenery of fire at Otenmon (the red-painted front gate) which depicts flaring Otenmon, crowds of viewers, government's officers trotting down on to the site upon receiving information, and so on, in a few meters long series of pictures only without any 'kotoba.'
Japanese: たとえば、『伴大納言絵巻』上巻の応天門の火災の場面は、炎上する応天門、火事見物の群衆、火災の報を聞いて現場に駆け付ける政府の役人などが、途中に「詞」を挟まず、数メートルにわたって絵のみで描写されており、絵巻の特性を生かした例として著名である。
English: This kind of composition of long successive series of 'e' to show development of scenes by unrolling a scroll is called 'progression style composition.'
Japanese: このように、「絵」の部分が長大に続き、巻物を繰り広げるにつれて画面が展開していく構図を「連続式構図」という。
English: On the other hand, a composition of alternating appearance of a picture and text pages of about 50 to 60 cm width to be overviewed by spreading on a desk is called 'section style composition,' typical example of which is "Genji Monogatari Emaki."
Japanese: これに対して、巻物を机の上で広げた際に一目で見渡せる程度の大きさ（横幅50-60cm程度）を一画面とし、絵と詞が交互に現れる形式を「段落式構図」といい、『源氏物語絵巻』がその典型的な例である。
English: In existing works of emakimono, there are not so many 'progression style compositions' showing effective features of emakimono, but there are many 'section style compositions.'
Japanese: 現存作品を見ると、「連続式構図」のもの、つまり絵巻の特性を効果的に生かした作品はさほど多くなく、「段落式構図」の作品の方が多い。
English: Emakimono is attracting attention to its artistic value as well as to its documentary value as visual historical and folklore materials (pictorial material).
Japanese: 絵巻物については、美術的価値とともに、ビジュアルな歴史民俗資料(絵画資料)としての価値が注目されている。
English: Emakimono represents various items such as clothing, architecture, food, weapons and armor, furnishing goods, and so on, which do not necessarily reflect their real status in the days of production but, nevertheless, provides valuable visual information for various studies and research, including history of clothing, history of architecture, folklore, and Yusoku-kojitsu (studies in ancient court and military practices and usage).
Japanese: 絵巻物に描き表された服装、建築、食物、武器武具、調度品等は、それが制作された時代の実態をそのまま反映したものとは必ずしも言えないが、服飾史、武具甲冑史、建築史、民俗学、有職故実などの研究のために貴重な視覚情報を提供している。
English: For example, the scene of Daibutsu-den of Todai-ji Temple painted in "Shigisan Engi" produced in 12th century is the only one existing material depicting actual Daibutsu (Great Statue of the Buddha) and its hall in the age of their creation.
Japanese: 一例として、『信貴山縁起』（12世紀）に登場する東大寺大仏殿の場面は、創建当時の大仏および大仏殿を描いたほとんど唯一の資料である。
English: Also "Gaki Soshi" (hungry ghosts scroll) shows us real conditions of toilet of that time, which we can no longer trace in other documentary materials.
Japanese: また、『餓鬼草紙』を見ると、文献資料ではわからない、当時のトイレの様子がわかる。
English: Emakimono are classified, according to the subjects of painted pictures, into monogatari-e (illustrated tales), setsuwa-e (didactic pictures), senki-e (illustrated tales of battles), shaji-engi-e (illustrated founding stories of shrines and temples), kosoden-e (illustrated biographies of high rank priests), kasen-e (illustrated scroll of celebrated poets) and so on.
Japanese: 絵巻物はその題材によって、物語絵、説話絵、戦記絵、社寺縁起絵、高僧伝絵、歌仙絵などに分類される。
English: Monogatari-emaki' (an illustrated scroll of tales) is usually understood to cover pictorial works based on the line of 'Ocho-monogatari' (stories of dynasties) such as "Genji Monogatari" (the Tale of Genji), and, therefore, even such illustrated stories as those based on "Uji Shui Monogatari" (collection of tales from Uji) are usually classified into "setsuwa emaki" (illustrated scroll of preaching stories).
Japanese: 「物語絵巻」は『源氏物語』のような「王朝物語」系の作品の絵画化したものを指すのが通例であり、ストーリー性のあるものでも『宇治拾遺物語』などに取材したものは『説話絵巻』として別に分類することが普通である。
English: Because of its painted form, many emaki are characterized by their visualized subjects based upon various tales with plot, but there are also exceptions like kasen-e with a sequence of poets' portraits without any plot.
Japanese: 絵巻という画面形式から、何らかのストーリー性をもった題材を絵画化したものが多いが、歌仙絵のように、ストーリー性は全くなく、肖像を描き並べた形式の作品もある。
English: Kagura is a chanting and dancing performance dedicated to gods in Shinto rituals.
Japanese: 神楽（かぐら）は、神道の神事において神(神道)に奉納するために奏される歌舞。
English: The word 'kagura' is commonly believed to have been transferred from 'kamukura' (a seat for gods).
Japanese: 「かぐら」の語源は、「神座」（かむくら・かみくら）が転じたものとする説が一般的である。
English: Kamukura means 'a place for gods to stay' where Shinto gods shall descend and enjoy together with the people a feast of chanting and dancing, which became called kagura, while miko (shrine maidens) purify uncleanness of gathered people and become mediumistic to transfer the gods' will to the people and the people's wish to the gods.
Japanese: 神座とは「神の宿るところ」を意味し、神座に神々を降ろし、巫女が集まった人々の汚れを祓ったり、神懸かりとなって神の意志を伝えたり、また人の側からは願望が伝えられるなど、神人一体の宴を催す場であり、そこでの歌舞が神楽と呼ばれるようになったと考えられている。
English: According to Kojiki (the Record of Ancient Matters) and Nihonshoki (the Chronicle of Japan), kagura had its origin in a Japanese ancient myth of the oracular Amenouzume (goddess of the dawn and revelry) who had performed a dance in a chapter of Ama no iwato (Cave of heaven).
Japanese: 古事記および日本書紀においては、天岩戸の段でアメノウズメが神懸りして舞ったという日本神話が神楽の起源であるとされる。
English: Since Sarumenokimi, who was regarded as a descendant of Amenouzume, was engaged in rituals for the repose of souls, the original form of kagura may be considered to have been an entertainment of the gods accompanying formal rituals for repose and the shaking of souls.
Japanese: アメノウズメの子孫とされる猿女君は宮中において鎮魂の儀に携わっており、このことから神楽の元々の形は鎮魂・魂振に伴う神遊びであったとも考えられる。
English: Kagura can be classified into two kinds, mikagura and satokagura, the former being performed in the imperial court and the latter among ordinary people.
Japanese: 神楽は、宮中で行われる御神楽（みかぐら）と、民間で行われる里神楽（さとかぐら）に分けられる。
English: Yasuji HONDA (1906 - 2001), a foremost authority of folklore entertainment, has further divided the satokagura into miko-kagura (kagura performed by shrine maidens), Izumoryu-kagura (Izumo school of kagura), Iseryu-kagura (kagura of Ise school) and shishi-kagura (lion style Kagura).
Japanese: 里神楽は民俗芸能研究の第一人者である本田安次(1906-2001)がさらに大きく巫女神楽・出雲流神楽・伊勢流神楽・獅子神楽に分類した。
English: Recently, however, the above way of sorting has became occasionally inconvenient and its review is now under consideration.
Japanese: しかし、この分類では不都合なことも生じてきており、近年里神楽の分類方法の見直しも考えられている。
English: There are also some kagura created in the modern age and performed currently in many shrines.
Japanese: 近代に作られた神楽もあり、その中には多くの神社で行われているものもある。
English: Mikagura, also known kashikodokoro kagura, is a formal dancing ritual performed at kashikodokoro (a palace sanctuary) within the imperial court, which was originally named as naishidokoro mikagura in ancient time.
Japanese: 宮中の賢所で行われる御神楽（賢所御神楽）のことで、古くは内侍所御神楽と言われた。
English: It is believed that mikagura were officially established at such events, firstly as the Kinka-shinen (kagura) performed at Seisho-do hall in the imperial court for Daijosai (the first ceremonial offering of rice by newly enthroned emperor) and, secondly, as a kagura dance performed as Kaeridachi (entertainment of chanting and dancing in front of emperor after an official ritual offered to gods) for the special festival of Kamo-jinja Shrine, and, thirdly, as a kagura dance performed for the Sono narabi Kara kami no matsuri (festival for both the southern shrine for Sonokami (god) and the northern shrine for Karakami (god) enshrined in Kunaisho (Ministry of the Sovereign's Household)), and, lastly, as a kagura dance performed for the Iwashimizu Hachimangu Shrine special festival.
Japanese: 大嘗祭の清暑堂での琴歌神宴（神楽）、賀茂神社臨時祭の還立の神楽、園并韓神祭の神楽、石清水八幡宮臨時祭の神楽から成立したと考えられている。
English: Such mikagura had been performed every two years since 1002 or 1005 until they were changed to be held annually.
Japanese: 長保4年（1002年）あるいは寛弘2年（1005年）から隔年で行われるようになり、後に毎年の行事となった。
English: Although simplified, mikagura is currently performed at Kashikodokoro in the middle of December every year by Shikibushoku Gakubu (Music Department) of Imperial Household Agency as well as for the Daijosai.
Japanese: 簡略化されてはいるが宮内庁式部職楽部によって、現在も毎年12月中旬に賢所で行われ、大嘗祭でも行われる。
English: The word satokagura is used in comparison with mikagura, while, in a more limited sense, it means private kagura performed in Kanto region.
Japanese: 里神楽という語は御神楽との対比に用いられ、狭義では関東での民間の神楽に用いられる。
English: Originally it was performed for possession by the supernatural, and later it became formalized as a dance for prayers and devotion to gods.
Japanese: 神がかりのために行われた舞がもととなり、それが様式化して祈祷や奉納の舞となった。
English: The former case was featured by dances whirling in order and reverse order, and this old manner of dancing is still seen in some performance, although the latter case is now dominant.
Japanese: 前者の特徴は順・逆に回って舞うことなどで、その古態を残すところもあるが、現在では後者がほとんどである。
English: This Gozagae Shinji (also known as Sata Shinnoh (a kind of Noh plays dedicated to Sata-jinja Shrine)), is composed by such as torimono-mai dance to purify newly placed mats for gods, and Shinnoh adopting various Japanese myths and legends of shrines, and in this school, the kagura has become more dramatic and spread all over the country, especially in Chugoku region.
Japanese: この神事（佐陀神能）は取り替えた御座を清めるための採物舞と日本神話や神社縁起を劇化した神能などから成り、この流れを汲んだうえで演劇性を高めた神楽が中国地方中心に全国へ広がっている。
English: Especially, a school of Iwami-kagura in the west part of Shimane Prefecture and the northwest of Hiroshima Prefecture has now established as an amusement art which is popular among people including children.
Japanese: 特に島根県西部や広島県北西部に伝わる石見神楽の系流は、子供にも人気のある娯楽芸能として確立されている。
English: Yudate, a rite that miko and others boil water in a caldron and splash the hot water on themselves or people around to purify them, is joined by kagura dance played either by a miko with torimono or by a masked Noh player.
Japanese: 釜を据えて湯を沸かし、巫女などが自ら、あるいは周囲の人にその湯を降りかけて清める湯立に、採物あるいは着面の神楽が加わる。
English: Different from Furyu School of shishimai, this shishi-kagura is played by a dancer bearing a mask of lion head, which is regarded as goshintai (an object of worship housed in a Shinto shrine and believed to contain the spirit of god), to implement prayers and rituals at various local shrines where a band of kagura players go on a tour.
Japanese: 風流系とは異なり、獅子頭を神体として各地を巡って祈祷やお払いを行う。
English: The classification mentioned above is very rough, and, in addition, there are some local kagura which possibly contain a number of mixed features of the various kagura.
Japanese: 上記は大まかな分類であり、また、各地の神楽にはこれらの幾つかの要素が入り混じっている場合がある。
English: Dai-kagura is a kind of kagura performed by jinin (associates of Shinto shrines) of Ise-jingu Shrine and Atsuta-jingu Shrine, who travel around the country to visit various local shrines (kaidan (literally, circuit ritual services)) and distribute talismans, as kamado-harai (purification of cooking ovens) and akuma-barai (expulsion of devils) to be performed on the street of a village.
Japanese: 伊勢神宮や熱田神宮の神人が各地を巡って（回檀）、神札を配り、竃祓いや村の辻での悪魔祓いとして行った神楽。
English: Shishimai for Ise dai-kagura (lion dances for dai-kagura plays dedicated to Ise-jingu Shrine) were transmitted at various local villages of kaidan, and they are now known as shishimai of Ise dai-kagura.
Japanese: 伊勢太神楽の獅子舞は回檀先の多くの村々に移入され、それらは伊勢太神楽系の獅子舞と呼ばれる。
English: Kyokugei played as a form of entertainment have developed to become a part of dai-kagura played on stage, namely Edo dai-kagura and Mito dai-kagura.
Japanese: 余興として行われていた曲芸は舞台芸としての太神楽に発展、江戸太神楽や水戸大神楽となった。
English: Since the emergence of yose (vaudevilles) in a late Edo period, performances in a range from ritualized kagura to entertainment kyokugei (so called juggling) have come to be often played on stage.
Japanese: 江戸末期から寄席の登場で祭事色の神楽から演芸の曲芸（所謂ジャグリング）が演じられることが多くなった。
English: In the world of yose, kagura is often referred to as iromono (various entertainments in storytellers' theater other than story telling) and called dai-kagura kyokugei (acrobatics of Dai-kagura), apart from rakugo (comic storytellings) and kodan (historical narratives).
Japanese: 寄席では落語、講談とは違い色物と扱われることが多く太神楽曲芸と言う。
English: The Tosa school is a school whose Ryuso (a founder of school, an originator) was KASUGA no Motomitsu, a disciple of KOSE no Kinmochi of the Kose school and produced many famous painters.
Japanese: 巨勢派の巨勢公望の門人春日基光を流祖とし、数々の名手を世に送り出した流派。
English: This school of painting formed the transmission of techniques of pure Japanese painting, i.e., so-called Yamato-e painting, and dominated the Edokoro government office by heredity for about one thousand long years from the Heian period.
Japanese: 本画派は、純日本的ないわゆる大和絵の伝法を樹立し、平安時代よりおよそ一千年の長きにわたって朝廷の絵所を世襲した。
English: The name of the school originated from the fact that Tsunetaka KASUGA, a grandson of Takayoshi KASUGA who was famous as the author of Genji monogatari emaki (Illustrated Handscroll of the Tale of Genji), left Nara, moved in Kyoto, served in the Imperial court, and was appointed as Tosa no Gon no kami (Provisional Governor of Tosa Province).
Japanese: 源氏物語絵巻の筆者として名高い春日隆能の孫、春日経隆が、奈良を去って、京都に移り朝廷に仕えて、土佐権守に任じられたことに由来する。
English: The school was sometimes called as the Kasuga school until Tsunetaka KASUGA left Nara, but after Tsunetaka, all members of the school took the name of Tosa.
Japanese: 春日経隆が、奈良を去るまでは、春日派と呼ばれることもあるが、経隆の後は、みな土佐を氏とした。
English: As Uji cha (Uji tea) plantations flourished, earthenware for chanoyu (tea ceremony) were actively produced.
Japanese: 宇治茶の栽培が盛んになるにつれ、茶の湯向けの陶器が焼かれるようになった。
English: The name of Asahi yaki is said to be derived from Mt. Asahi at the foot of which its kiln was located, or from its own red spots (Gohonte) which are suggestive of kyokko (the morning sun).
Japanese: 朝日焼という名前の由来については、朝日山という山の麓で窯が開かれていたという説と、朝日焼独特の赤い斑点（御本手）が旭光を思わせるという説がある。
English: Since long ago, the Uji region has always had an abundance of good quality clays, where old kiln sites of unglazed (ceramic) ware are found.
Japanese: 宇治地方は古くから良質の粘土が採れ、須恵器などを焼いていた窯場跡が見られていた。
English: During the Muromachi period, before Asahi yaki was born, the Uji region had produced another type of earthenware called Uji yaki which had no clear historical background, but some famous wares remain.
Japanese: 室町時代、朝日焼が興る前には、経歴も全く不詳な宇治焼という焼き物が焼かれ、今も名器だけが残されている。
English: But, Asahi yaki seems to have been highly appreciated since the Momoyama period when tea ceremony had arisen and prospered, and Jirouemon Tosaku OKUMURA, originator of Asahi yaki, was praised by Taiko (father of the Imperial adviser) Hideyoshi TOYOTOMI and then changed the letters of his name from 藤作 (literally, grower of wisteria) to 陶作 (creator of pottery) both of which remain unchanged in pronunciation.
Japanese: しかし、桃山時代には茶の湯が興隆したため、初代、奥村次郎衛門藤作が太閤豊臣秀吉より絶賛され、陶作と名を改めたというエピソードも残っていることから、当時から朝日焼は高い評判を得ていたことになる。
English: Subsequently, the second generation Tosaku has boosted the reputation of Asahi yaki under the protection and guidance of Totoumi no kami (the Governor of Totoumi Province), Masaichi KOBORI (also known as Enshu KOBORI).
Japanese: 後に二代目陶作の頃、小堀遠江守政一（小堀遠州）が朝日焼を庇護、そして指導したため、名を一躍高めることとなった。
English: During the period of third generation Tosaku, when the custom of tea ceremony spread widely from the general warrior class to donoue (high rank couriers), and kuge (court nobles) classes and also to the townsmen, Uji cha plantations became increasingly productive and Uji cha was traded at high prices.
Japanese: 三代目陶作の頃になると、茶の湯が一般武士から堂上、公家、町衆に広まっていき、宇治茶栽培もますます盛んになり、宇治茶は高値で取引されるようになった。
English: In parallel with this, Asahi yaki reached a new height of prosperity by producing high class utensils for tea ceremony according with the trend of Uji cha.
Japanese: それに並行して朝日焼も隆盛を極め、宇治茶の志向に合わせて、高級な茶器を中心に焼かれるようになっていった。
English: The most distinctive feature of Asahi yaki are its typical red spots that appear by calcination of ferruginous material clay.
Japanese: 朝日焼は原料の粘土に鉄分を含むため、焼成すると独特の赤い斑点が現れるのが最大の特徴である。
English: It indicates pottery with kase patterns, such as earthenware containing clear red spots caused from particularly abundant iron present in the.
Japanese: 鹿背の中でも、特に鉄分が多く、よりくっきりと紅色が見えるものを指す。
English: Aburimochi is a kind of rice cake snack, made of thumb-sized rice cakes dredged with soybean flour, skewered on a bamboo stick, roasted over charcoal fire, and then basted with white bean pastes, or otherwise okaki (cracker mix) and senbei (rice crackers) skewered on a stick.
Japanese: あぶり餅（あぶりもち）は、黄粉をまぶした親指大の餅を竹串に刺し、炭火であぶったあと白味噌のタレをぬった餅菓子または、串にさしてあぶったおかきや煎餅のこと。
English: Aburimochi are sold at many Japanese sweet shops and those located in the precincts of Imamiya-jinja Shrine in Kita-ku Ward, Kyoto City, Seiryo-ji Temple in Saga, Ukyo-ku Ward, Kyoto City, Jinmei-gu Shrine of Kanazawa gosha (five shrines of Kanazawa) in Kanazawa City, Ishikawa Prefecture, and so on, are famous among them.
Japanese: 京都市北区(京都市)の今宮神社(京都市)や同右京区嵯峨(京都市)の清凉寺、石川県金沢市金沢五社の神明宮などにある和菓子屋が有名。
English: Especially, the shop located in the Imamiya-jinja Shrine is said to be the oldest Japanese sweet shop operating since the Heian period, which is said to have served aburimochi to starved people on the entrance path to the shrine during the Onin War and during other times of famine.
Japanese: 特に今宮神社の店は、平安時代頃からある日本最古の和菓子屋とされ、今宮神社参道で応仁の乱や飢饉のとき庶民に振舞ったといういわれがある。
English: Aburimochi are popular as they are believed to bring the people who eat them the benefits of expelling diseases and evils because aburimochi are skewered with purified bamboo sticks dedicated to Imamiya-jinja Shrine, in the same way as any one may receive benefits if he or she joins oni (a devil) under its umbrella with floral decorations for the Yasurai festival held at the Imamiya-jinja shrine on the second Sunday of every April.
Japanese: またあぶり餅で使われる竹串は今宮神社に奉納された斎串（いぐし）で、今宮神社で毎年4月の第2日曜に行われるやすらい祭の鬼の持つ花傘の下に入ると御利益があるのをたとえとし、食べることで病気・厄除けの御利益があるとされ親しまれている。
English: Heian Kosha was established as a civil organization for the management and preservation of the Heian-jingu Shrine, and 'the festival' was started as a project to celebrate its anniversary.
Japanese: 神宮の管理と保存のための市民組織として、平安講社が作られ、「祭り」はその記念事業として始まった。
English: An idea to augment the mood of the festival was to have a procession in Kyoto style representing each historical period, from the newest to the oldest, prior to the transfer of capital to Tokyo; and the festival started to be called 'Jidai matsuri.'
Japanese: その中で祭りを盛大にするため、東京奠都以前の京都の風俗を、時代を遡って行列を行うことが提案されたので、この祭りが「時代祭り」と呼ばれるようになった。
English: The first festival was held on October 25, 1895 to worship the newly built Heian-jingu Shrine; from the following year, the festival took a form in which 'two great spirits of Emperor Kanmu and Emperor Komei, who are the objects of worship, visit the shrine from the Kyoto Imperial Household, which used to be their residence, with a long line of attendants following in the procession, enjoying the view of the flourishing towns.'
Japanese: 初回は、創建されたばかりの平安神宮への参拝として明治28年（1895年）10月25日に行われ、その次の回からは、「祭神である桓武天皇と孝明天皇の二柱の御霊が、住まいであった御所から街の繁栄を見ながら行列のお供を従へて神宮へ行く」形となった。