nntsuzu/KFTT huggingface dataset:
English: It is the most common position for inserting kanzashi and hirate-kanzashi, tama-kanzashi, hime-kanzashi and/or kazari-kanzashi are used for this purpose.
Japanese: 平打簪、玉簪、姫挿し、飾り簪などを使用しもっとも一般的な簪の飾り位置。
English: Ichidome: Used for attaching 'hashi no ke' (long and thin hairpiece) to mage.
Japanese: 位置留：髷の上に装着する「橋の毛」（細長いヘアピース）を留めるもの。
English: The terms 'kazashi' and 'kanzashi' which frequently appear in "The Tale of Genji" written during the Heian period refer either 'kazashi' (flowers worn in one's hair at shrine rituals) or 'kamizashi' (appearance of hair) and the term 'kamisashi,' hair ornamentation, refers to a comb which was inserted over a person's forehead during the ceremony of kamiage.
Japanese: 平安時代の『源氏物語』には「かざし」「かんざし」と言う言葉が何度か登場するが、これは「挿頭」（儀式などの際に参加者が髪にかざす植物のこと）「髪ざし」（髪の様子）のこと、また髪飾りの「髪挿し」は髪上げの儀などで前額に挿す櫛を指している。
English: Chinese '簪' was a tool to fix a court cap by inserting it from the base of cap's arch and it was a product for men.
Japanese: 「簪」は冠の巾子（こじ）の根元から差し入れて冠を止めるもので当然男性用。
English: As seen in Du Fu's poem saying 'as my grey hair is short, it seems to be impossible to use kanzashi even though I bundle it,' the original meaning of the Chinese character '簪' was a tool which male officials used in order to fix their court caps.
Japanese: 中国語本来の「簪」は杜甫の白頭掻けば更に短く、渾べて簪に勝えざらんと欲すの詩句に見られるように男性官人が冠を止めるために使ったものである。
English: Gold 'kanzashi' of the empress Yang Guifei which appears in Chokonka written by Bai Letian was '釵' (sai).
Japanese: 白楽天の長恨歌のラストシーンで登場する楊貴妃の金の「かんざし」は「釵」である。
English: As can be expected from the letter 叉, it had two holding pins and when facing her death, Yang Guifei promised her eternal love for the emperor, who remained alive, by snapping her memorable hair ornament.
Japanese: 叉と言う字を含むことから分かるように留め針は二本あり、霊となった楊貴妃は思い出の髪飾りを真っ二つにして、現世に残された皇帝に送り永遠の愛を誓う。
English: As kanzashi could be used as a weapon, it was prohibited to enter a bedroom while wearing it.
Japanese: 簪も立派な武器であり、当然身につけたまま寝所に入ることは許されない。
English: Kanzashi which was used in Ryukyu's old martial arts was called jifa.
Japanese: 武器としての簪は、琉球古武術で使用されているジーファーと呼ばれる簪である。
English: In Ryukyu, both men and women used to wear kanzashi and it was the sole weapon which women could use.
Japanese: 琉球では男も女も簪をしており、女性が唯一使うことのできる武器である。
English: In many cases, women stabbed a thug with a jifa when they were attacked and she escaped while the thug was wincing.
Japanese: 使い方としては、襲われた時にジーファーを相手に突き刺して、相手がひるんだ隙に逃げ出すというものがほとんどである。
English: During the early Edo period, women of a Samurai family in Edo core kanzashi made of solid metal in place of brass kanzashi, which was commonly used in Kamigata (Kansai region), with the aim of using it as a weapon for self-defense.
Japanese: 本土でも、江戸時代の初期において上方では真鍮などで制作されていた簪が、江戸の武家階級ではより固い金属にとって変わったのも、護身武器としての効果を狙ったためである。
English: Naturally, society became a commerce-centered one and merchants became wealthy while ordinary people also were able to obtain various favorite goods.
Japanese: 自然と商業中心の世の中になり、商家の財力は大きく、庶民でも様々な娯楽品を手に入れるようになる。
English: In order to distinguish themselves from ordinary women, probably, dayu, the highest ranking yujo, wore three combs and 20 tortoise shell hair ornamentation including kanzashi and kogai.
Japanese: そのような一般人との違いを見せつけるためか、最高級の遊女である太夫クラスでは、櫛は3枚に簪、笄をあわせて20本もの鼈甲製の髪飾りをつけるにまでなった。
English: These splendid hair ornaments were gifts from patrons and expressed figuratively as 'the value of the part from the neck up is equivalent to that of a house.'
Japanese: 絢爛豪華な髪飾りは「首から上の価値は家一軒」と言われ、贔屓客からの贈り物であった。
English: Tortoise shell with no spots was the most valuable one and it was specifically called shiro or shiroko.
Japanese: 鼈甲でも斑点のないものが最も高価で、斑点のない部分だけのものを特に白または白甲（しろこう）と呼ぶ。
English: In the mean time, a set of hair ornaments for dayu at Yoshiwara in Edo (Tokyo) consisted of three combs, two tama-kanzashi, two matsuba, one kogai (a bar-shaped ornamental hairpin) and twelve kiccho (other than these items, braided cord ornament to be attached to the back of mage were also included).
Japanese: ちなみに太夫用の揃いは、江戸の吉原(東京都)風ならば櫛3枚、玉かんざしと松葉を各2本づつ、笄（延べ棒）1本、吉丁を12本となる（これ以外に髷の後ろにつける組み紐の飾りなどがある）。
English: At Shimabara in Kyoto, a set consisted of three combs, one kogai (a bar-shaped ornamental hairpin), six to twelve hirate-kanzashi, two birabira-kanzashi with long hanging ornaments, one flower kanzashi and katsuyama (a large-size tsumami-kanzashi) (other than these items, kanoko that were attached around mage were included).
Japanese: 京都の島原風なら櫛3枚、笄（延べ棒）1本、平打を6～12本、長い下がりのついたびらびら簪を2本、花簪1本、勝山（つまみ簪の大きいもの）などとなる（これ以外に髷の周りにつけるかの子などがある）。
English: Some sumo wrestlers in Edo wore two combs, like yujo, aiming to draw public attention.
Japanese: 余談だが、江戸の力士の中には話題性を狙って遊女のように二枚の櫛を身につけていた変り種もいたという。
English: Uguisubari is a corridor used for warning that the enemy has entered.
Japanese: 鶯張り（うぐいすばり）とは、敵の侵入を知らせるために作った廊下のこと。
English: In ancient Japanese architecture, some floors were designed to creak when walked upon so that the danger of outside intruders was detected, the mechanism was called uguisubari.
Japanese: 日本の古来の建築物に見られる、人が床の板の上を歩く事によりきしみ音が鳴る様につくられた仕組みを鶯張りと言い、外部侵入者の危険探知の為に設けられたとされている。
English: In addition to a noise on floors, walls and architecture were also designed to make a sound.
Japanese: また床の音のみに限らず塀や建築物の構造による音響も考え作られていたとされる。
English: Such constructions that produce similar effects with simple mechanism include clappers as well as gravel and pebbles spread all over the garden.
Japanese: 他に鳴子や庭に敷き詰められる砂利・玉砂利等も、簡易ながら同等の効果を得られる建造物として挙げられる。
English: As uguisubari was designed so that weight can cause the floor to make a sound regardless of the way of walking, there were many limitations in daily use.
Japanese: 重量がかかればどの様に歩いても鳴るように作ってある為に日常の用途としては制限が多かった。
English: Therefore, in some cases, it was decided to walk down the corridor in a certain rhythm so that a person can tell an outsider from an insider by listening to the sound.
Japanese: その為に部外者でない者と聞いて判るように、廊下を通過する際はある一定のリズムを守る事が定められていた場合もあった。
English: In English, uguisubari is called nightingale floors or singing floors.
Japanese: 英語ではナイチンゲールフロア(nightingalefloor)、シンギングフロア(singingfloor)などの名前で表す。
English: In general careful constructions, for fixing floor joists to floorboards, nails are driven to the floor joist from the top of the board in a way that one end of a clamp is nailed to the side of the board and another end is nailed to the floor joist so that the nailheads cannot be seen.
Japanese: いっぱんの入念な建築においては、床板と根太とを取り付けるとき、板の上端から根太にむかって釘を打ち、釘の頭を見せるようなことのないように、板の側面に手違いかすがいの一端を打ち、他端を根太に打ち、留め付けるものである。
English: On the other hand, in the case of uguisubari, as the floorboard is wide, both ends of the board are curved upward a little and further, holes of the clamp nailed to the board are designed to have a clearance in a degree to allow the floorboard to move up and down when the floorboard is not curved.
Japanese: しかし鶯張りのばあいは、床板の幅が広いから両側が多少、上方に反曲し、かつ、板に打ち込まれた手違いかすがいの穴が、床板の反曲しないばあいにも対応し得るだけに上下に余裕を持たせてある。
English: Therefore, when the top of the floorboard is stepped on, the floorboard returns to the non-recurved state, by which one end of the clamp rubs against the holes of the board, and makes a noise.
Japanese: そのため、床板の上端を踏むときは床板の反曲がもどるから、手違いかすがいの一端と板の穴の両側とが摩擦をおこし音を発するのである。
English: Rakuyaki is a soft-type glazed ceramic ware baked after formed not by an electric potter's wheel or kerokuro (a kicking potter's wheel), but just by the hands with the clay on a pallet called tezukune (handmade.)
Japanese: 楽焼（らくやき）は、一般的に電動轆轤や足で蹴って回す蹴轆轤（けろくろ）を使用せず手とへらだけで成形する「手捏ね」（てづくね）と呼ばれる方法で成形した後焼成した軟質施釉陶磁器。
English: In sensu strico, it indicates products made by the hand of the successive family heads of Kichizaemon RAKU, and are also called Rakujawan (Raku teacup.) etc.
Japanese: 狭義には樂吉左衛門の歴代当主が作製した作品を示し、楽茶碗などとも呼ばれる。
English: This includes Oi-yaki (Oi ware) of Kanazawa and Tamamizu-yaki (Tamamizu ware) of Kyoto, etc. which were learned from the methods of the Raku family.
Japanese: これらには樂家の手法を得た金沢の大樋焼や京都の玉水焼なども含まれる。
English: It is said that Rakuyaki began in the late 16th century when a roof tile artisan Chojiro baked 'Jurakuyaki' by firing the soil used in the construction of Jurakudai villa under the teaching of SEN no Rikyu.
Japanese: 天正年間（16世紀後半）、瓦職人だった長次郎が千利休の指導により聚楽第を建造する際に使用された土を使って焼いた「聚楽焼」（じゅらくやき）が始まりとされる。
English: An opinion is widely held that Sokei TANAKA who was the father of the second head of the family, Jokei RAKU was given a seal with the engraved character 'Raku' taken from the name of Jurakudai from Hideyoshi TOYOTOMI, and he began to use the seal and called his Yago (family name) Raku.
Japanese: 二代目・楽常慶の父、田中宗慶が豊臣秀吉より聚楽第からとった樂の印章を賜り、これを用いるとともに家号にしたことから楽焼となった、との説が広く知られる。
English: In the methos of early days, the process to make Black Raku is to souse tetsuyu (glaze containing iron) made of black stone in Kamo-gawa river on the bisque of work and then dry it in the shade, and when it dries, the work is dipped into tetsuyu again, and after this process is repeated 10-odd times, then the work is fired at about 1000 degrees Celsius in a kiln.
Japanese: 初期の製法としては、素焼き後に加茂川黒石からつくられた鉄釉をかけて陰干しし、乾いたらまた釉薬をかけるといったことを十数回繰り返してから1000℃程度で焼成する。
English: When the glaze begins to melt, the work is removed from the kiln and is quickly cooled down, and then the work turns black.
Japanese: 焼成中に釉薬が溶けたところを見計らって窯から引き出し急冷することで、黒く変色する。
English: The beginning of Black Raku was when Chojiro made a Black Raku tea bowl around 1581 to 1586.
Japanese: 天正9年（1581年）～同14年（1586年）頃に長次郎によって黒楽茶碗が焼かれたのが始まりである。
English: Senjafuda (also referred to as Senshafuda) is a card or slip stuck to shrines and temples on which visitor's name is printed as a memorial of the visit.
Japanese: 千社札（せんしゃふだ、せんじゃふだ）とは、神社や仏閣に参拝をした記念として貼る、自分の名前入りの札のこと。
English: Originally, it was a strip made of copper, however, during and after the Edo period, paper was usually used.
Japanese: 元来は銅板で作られていたが、江戸時代以降は紙が用いられることが多い。
English: Recently sticker types are often used and this is made with special vending machines where one can input his name and make a card.
Japanese: 更に、ごく最近ではシール状になっているものも多く、これらはゲームセンター等に設置されている専用の作成機で、名前等を入力した上で作成することが出来る。
English: As it has become easy to make senjafuda, people use them in many ways other than for the original purpose.
Japanese: また、手軽に作成できるようになり、本来の用途とは外れた様々な用途に使用されることが増えてきている。
English: For senjafuda, a strip called iccho-fuda (a 1 cho-sized card) of 58mm in width and 173mm in length is used.
Japanese: 千社札には、幅が一寸六分(数)（58ミリメートル）、高さが四寸八分（173ミリメートル）の一丁札が用いられる。
English: Meanwhile, in 1887 the komochi-waku was stipulated to be a width of 48mm and a length 144mm.
Japanese: なお、この子持ち枠のサイズは1887年に外寸法で幅48ミリメートル、高さ144ミリメートルに定められた。
English: Normally, senjafuda dedicated to shrines and temples are done in India ink, however, multiple color printed 'irofuda (literally, colored card)' are often made for exchange, collection, and appreciation.
Japanese: 通常、神社や仏閣に奉納するための札は墨による単色刷りだが、交換や蒐集、鑑賞などの目的のために、多色刷りされた色札が作成されることもある。
English: In 'Hanamachi (or 'Kagai', geisha districts)' in Kyoto, they use patterned senjafuda instead of a business card called 'Hanameishi (literally, flower business card.)
Japanese: また京都の花街などでは名刺の代わりに図柄入りの千社札もあり花名刺とも呼ばれる。
English: The letters are mainly characters designed during the Edo period, and senjafuda are printed in 'Edo-hanga' (wood block prints that were produced in and around the Edo period) in the same way as nishiki-e (a colored woodblock print).
Japanese: 文字には主に江戸文字が用いられ、錦絵と同じ江戸版画によって印刷される。
English: Usually, senjafuda is stuck to conspicuous place on the buildings of shrines or temples when dedicated, however, it is sometimes stuck in places not exposed to wind and rain and this is called 'kakuhsi-bari (secret pasting.).'
Japanese: 奉納の際には通常目立つところに貼るが、隠し貼りといって風雨に晒されず目立たないところに貼ることもある。
English: When senjafuda dedicated to shrines and temples were stuck to ceilings and walls and a long time had passed, the blank part of the paper became tattered and, and only the printed or written area in India ink or such are left.
Japanese: 神社や仏閣に奉納した千社札は、天井や壁に貼られてゆき、長い年月が経過して紙の空白部分が腐食すると、墨の印刷された部分のみが残る。
English: Recently, easily-made sticker type senjafuda have increased and are used other than for religious purposes such as for business cards and some kind of amulet stuck to 'bachi' (drumsticks) of a drum master to inspire himself when he performs.
Japanese: 最近では、手軽に作れるシール形式の千社札が急増しており、宗教的な用途以外にも、名札の代わりにしたり、気合を込めるの意味で太鼓の達人のプレイに使用する自作の撥に貼り付けたりと、様々な用途が生み出されている。
English: However, some shrines, etc prohibit visitors from dedicating senjafuda in what is considered a disruptive behavior by visitors who breach protocol.
Japanese: しかし、その反面、神社などではマナーに欠けた参拝者の貼り付けを迷惑行為として、千社札の奉納自体を禁じている場合もある。
English: Prevalence of sticker type senjafuda has become a focus of criticism that it is violating the traditions and rules governing senjafuda.
Japanese: シールによる千社札の普及が、古くからある千社札の伝統や決まりを乱していると批判の対象になっている。
English: In particular, sticking new one onto the 'nuke' of patterns and characters still remaining are sometimes done without being aware of it.
Japanese: 特に、「抜け」た跡に貼る場合などは、自覚無しに上貼りされることもある。
English: Originally, when senjafuda is stuck, it should be those done in India ink and loud appealing colored cards should be avoided.
Japanese: 本来は墨の単色刷りのもののみを貼るべきであり、目立つこのような札は貼るべきではない。
English: Seen today is more aggravating behavior of those using senjafuda as advertising media by printing unnecessary characters and pictures other than visitor's name.
Japanese: さらに、悪質なものでは必要以上に名前以外の文字・絵を描いて宣伝に利用される場合もある。
English: Considerating that senjafuda are sometimes peeled off to maintain the facilities of shrines and temples, it is necessary to use an adhesive that is harmless to the buildings.
Japanese: 千社札は、施設の都合により剥がされることもあることを考慮に入れ、そのような場合でも建物を傷つけない接着物を用いる必要がある。
English: Mitarashi dango are dumplings coated with a soy-and-sugar syrup, and usually three to five are stuck on a stick.
Japanese: みたらし団子（御手洗団子、みたらしだんご）は、3–5個の団子を串に刺して、砂糖醤油の餡をかけた串団子である。
English: As for salty dumplings which are without sugar-added kuzuan (a thick sauce whose main ingredient is arrowroot starch), see Article "Shoyu dango"
Japanese: 砂糖を加えた葛餡を用いない、塩辛い「醤油だんご」については、醤油だんごを参照。
English: Mitarashi dango were originally made at the Kamo Mitarashi Tea House at Shimogamo, Sakyo Ward, Kyoto City, and apparently these dumplings were made to look like bubbles in the Mitarashi no ike Pond, which is in the precincts of Shimogamo-jinja Shrine.
Japanese: みたらし団子は、京都市左京区下鴨の加茂みたらし茶屋が発祥で、この店の近所に鎮座する下鴨神社境内にある御手洗池（みたらしのいけ）の水泡を模して、この団子がつくられたといわれている。
English: At the Kamo Mitarashi Tea House, five dumplings are stuck on a stick, toasted until their surfaces are slightly burned, and coated with a sauce of arrowroot starch seasoned with soy sauce and sugar.
Japanese: 加茂みたらし茶屋では5個の団子を串に刺し、あぶり焼きにして焼き目を付け、砂糖醤油の葛餡をかけて出している。
English: Another feature is that the top dumpling is a little bigger than the others, and the top one on a stick is a little bit off from the other four.
Japanese: またもう一つ、この団子には特徴がある、一番上の団子が少し大きく、連続している他の4個の団子と距離が置かれて刺さっているという点である。
English: A basic recipe for mitarashi dango is simpler than that for shoyu dango, and they are widely sold at supermarkets and convenience stores, for they are coated with soy-and sugar syrup and do not dry out easily.
Japanese: 醤油だんごなどと比べ、基本の製法そのものは簡単であり、団子本体に醤油餡をかける為団子の乾燥を防ぐのでスーパーマーケット・コンビニエンスストアなどで広く売られている。
English: 'Mitarashi dango' sold at supermarkets and convinience stores is a set of three or four dumplings stuck on a stick and covered with soy-based sauce.
Japanese: この「みたらし団子」は、団子を3個か4個串に刺し、醤油ベースの餡を全体にかけたものである。
English: The sauce contains more sugar in order to make a longer shelf life, considering a "best before"date and the costs of selling throughout the whole country, and the dumplings are not browned because the sauce contains a small portion of soy sauce giving a strong caramel flavor if it is browned.
Japanese: 消費期限と全国販売のコストにより、保存性を高めるために砂糖の割合を増やし、焼き目をいれていない（醤油の割合が少なく、焼いてもカラメルの匂いが強い為）。
English: Compared with dumplings from tea houses and dumpling stores, taste of which is best on the day they are made, the dumplings sold widely tend to be too sweet.
Japanese: 茶屋や団子屋の作る賞味期限が当日の物と比較して、甘さが過剰になりがちである。
English: Among the Japanese-style confections, there is a variation of mitarashi dango, which contains the sweet sauce of arrowroot starch in it instead of being coated with the sauce.
Japanese: みたらし団子を変形させた和菓子として、葛餡をかけるのではなく、中に入れた製品がある。
English: Taretsutsumi dango' sold at the Awashima-Do and 'mitarashi hanako' of the Masuya head store (it went into voluntary liquidation on December 7, 2007) are two examples.
Japanese: あわしま堂の「たれ包み団子」、益屋本店（2007年12月7日自主廃業）の「みたらし花子」がある。
English: Since around the Heian period, young trainee monks (age 12 to about 18) who did not shave their heads began to appear at the large-scale temples of the Shingon and Tendai sects of Buddhism, and these boys came to be called chigo.
Japanese: 平安時代頃から、真言宗、天台宗等の大規模寺院において、剃髪しない少年修行僧（12～18才くらい）が現れはじめ、これも稚児と呼ばれる様になった。
English: There were three kinds of chigo: the upper chigo was a son of the Imperial family or high nobles left at the temple to learn good manners; the middle chigo was discovered for his cleverness and taken to a temple in order to look after priests; the lower chigo was sold by a corrupt monk, or his talent in performing art was recognized and was employed at the temple.
Japanese: 皇族や上位貴族の子弟が行儀見習いなどで寺に預けられる上稚児、頭の良さを見込まれて世話係として僧侶に従う中稚児、芸道などの才能が見込まれて雇われたり腐敗僧侶に売られてきた下稚児がいた。
English: They had long flowing hair or did their hair in chigo mage (coiffure, distinguished by two loops of hair standing on the crown of the head), putting on makeup just like court ladies in the Heian period who had already celebrated their coming of age (even applying tooth black to their teeth), and wearing suikan (the dress for upper class children) in full color.
Japanese: 髪形は垂髪、または、稚児髷で、元服後の平安貴族女性と同様の化粧をし（お歯黒も付けていたらしい）、極彩色の水干を着る。
English: Because the large-scale temples of the Shingon and Tendai sects of Buddhism for practicing asceticism were located in the mountains and closed to women, these chigo were often involved in homosexual relationships as 'a female role in a male society' (except for the upper chigo).
Japanese: 真言宗、天台宗等の大規模寺院は修行の場であるため山間部にあり、また、女人禁制で有るため、このような稚児はいわば「男性社会における女性的な存在」となり、しばしば男色の対象とされた(但し上稚児は対象外)。
English: Even at the Zen temples after the medieval period, chigo and katsujiki had been mainly considered male homosexuals.
Japanese: 中世以降の禅林（禅宗寺院）に於いても、稚児・喝食は主に男色、衆道の対象であった。
English: Mostly, bugaku (court music and dances), sangaku (various kinds of folk performances), and ennen (entertainment) were performed at grand Buddhist memorial services, and chigo attracted attention of priests belonging to other temples.
Japanese: また、大法会の際に舞楽、散楽、延年を上演する場合が多く、他の寺の僧侶からも注目を集めた。
English: When these chigo grew up, most of them returned to secular lives, but there were a few who became priests.
Japanese: これらの稚児は成人に達すると還俗する場合が多いが出家して住職となった者もいたらしい。
English: The chigo mentioned above appeared in many of the classic and modern literature, and they were described as well as young ladies by the words such as sensitive, elegant, graceful, neat and clean, pretty, and fragile, while their comic remarks made by their innocence were met with priests' contemptuous laughter.
Japanese: 上記の稚児は、古典、近代、等、数多くの文学作品に登場、これらの中でも、繊細、優美、典雅、清楚、可憐、脆弱、等、妙齢の女性と同様の耽美的描写が行われる場合が多い一方、幼さゆえの場違いな発言で僧侶の失笑を買う、等、笑いの対象になる場合もある。
English: In today's festivals, boys and girls (usually younger than elementary school students) who wear distinctive makeup (mostly thick makeup) and certain matching costumes are mostly called chigo.
Japanese: 現代においては、祭りの中で、特徴的な化粧（厚化粧の場合が多い）をし、お揃いの、または決められた衣装を着た少年少女（概ね小学生以下）が稚児と呼ばれる場合が多い。
English: The chigo usually wear the Heian-style costume (Shinto priest costume or shrine maiden costume) or chigo costume which is an informal Heian-style clothing, and mostly boys wear eboshi (lacquered hat) and girls wear tengan (golden crown), in addition to hakama (pleated and divided skirt made in fine stripes) which is considered essential.
Japanese: 稚児の衣装は概ね平安装束（神官装束、巫女装束）か、それを大幅に簡略化した稚児装束の場合が多く、少年は烏帽子、少女は天冠を被る場合が多く、また、袴は不可欠と考えられる。
English: Basically they wear makeup called 'kuraihoshi' putting black or red circles on their faces and painting the bridges of their noses with white, but there are many variations of their makeup: the light makeup like just putting some lipstick, the makeup as thick as adult's formal makeup, stage makeup like an actor in the kabuki dance (very rarely, chigo stain their teeth black or paint eyebrows), thick makeup like a ballerina, and so on.
Japanese: 化粧は額に「位星（くらいほし）」と呼ばれる丸を黒、または赤で入れ、鼻筋を白く塗るのが基本だが、それ以外は、殆ど素顔、口紅を塗るだけの場合から、大人のフォーマルと同様の厚化粧、歌舞伎舞踊と同様の舞台化粧（極稀にお歯黒を付ける場合や引眉する場合がある）、バレエと同様な洋風の厚化粧、と結構様々である。
English: It generally depends on a sponsor of the festival if these children should be called chigo or not, so sometimes they are not called chigo even though they look like chigo, for example, yaotome (eight shrine maidens), young boys in the Annual Festival of Tsurugaoka Hachimangu Shrine, and musicians in the Hanamaki Festival in Hanamaki City, while children can be called chigo in spite of wearing no makeup, for example, the children wearing yukata (informal summer kimono) without makeup in the Yukata Festival in Himeji City.
Japanese: ただ、稚児と呼ぶかどうかは祭りの主催者によって一定しない場合が多く、鶴岡八幡宮例大祭の八乙女・童子や花巻市の花巻まつりの囃子方の様に、見た目が稚児であっても稚児と呼ばない場合がある一方で、姫路市のゆかた祭りの様に、素顔にゆかた（袴無し）の場合でも稚児と呼ばれる場合もある。
English: Since ancient times, it has been thought that a divine spirit easily descends to a child aged under six, so chigo who had a role of spiritualistic medium appeared in a festival of the Shinto shrine.
Japanese: 古代から6才以下の幼児には神霊が降臨しやすいと考えられたことから、神社の祭りにおいて依り代の役割をもった稚児が登場した。
English: The boys and girls who perform kagura (Shinto music and dancing), bugaku, dengaku (farmers' music and dancing), and furyu (folk music and dancing) as a religious offering are usually called chigo.
Japanese: 神楽、舞楽、延年、田楽、風流等を奉納・上演する少年少女も稚児と呼ばれる場合が多い。
English: A girl who wears the costume of a shrine maiden in the miko dance, and 'noriko' (literally children on something) on the drum stage are sometimes called chigo too.
Japanese: 巫女舞の場合に巫女装束となる少女の巫女、太鼓台の「乗り子」も稚児と呼ばれる場合がある。
English: They appear not only in the shrine festivals accompanied by a shrine maiden and a historic pageant, but also in a flower festival at a temple (birthday ceremony, kanbutsue (the Buddha's birthday festival), Shakyamuni's birthday ceremony), days consecrated to the Bodhisattva of Compassion and Fudo Myoo, the anniversary of the death (memorial service) of the founders, such as Honen and Nichiren, grand Buddhist memorial services held once in decades or hundreds of years such as a celebration of completion of a main hall or the inauguration ceremony for the head priest of a temple.
Japanese: お寺の花まつり（誕生会、灌仏会、釈尊の誕生日）や観世音菩薩、不動明王、等の縁日、法然、日蓮、等の宗祖の命日（お会式）、本堂落慶法要や晋山式といった、数十年～数百年に一度の大法会に行われる他、神社の祭りにも巫女と共に登場、また、時代行列の中で登場する場合もある。
English: Chigo is often invited from the public, and sometimes more than two hundred chigo are collected in the large-scale festival.
Japanese: 稚児は一般から公募する場合も多く、大規模な所では200名以上が登場する場合もある。
English: There is an urban legend that a child who has taken part in the chigo parade three times will be happy, which is particularly believed in Aichi Prefecture (it is restricted to girls in Aichi Prefecture).
Japanese: 尚、稚児行列に3回出ると幸福になれる、という都市伝説もあり、特に愛知県で根強いらしい（愛知県内では少女に限る）。
English: Mid-May: Kanda Festival (Kanda-jinja Shrine, Chiyoda Ward and Chuo Ward, Tokyo) (Grand festival is held biennially, and next will be in 2009)
Japanese: 5月中旬：神田祭（千代田区、中央区(東京都)神田神社）（大祭は2年に1度、次回は2009年）
English: Mid-June: Sanno Festival (Hie-jinja Shrine, Chiyoda Ward and Minato Ward, Tokyo) (Grand festival is held biennially, and the next will be in 2008)
Japanese: 6月中旬：山王祭（千代田区、港区(東京都)日枝神社）（大祭は2年に1度、次回は2008年）
English: Mid-August: Annual festival (Fukagawa Jinmyo-gu Shrine, Koto Ward) (the grand festival is held every three years, and next will be in 2009)
Japanese: 8月中旬：例大祭（江東区深川神明宮）（大祭は3年に１度、次回は2009年）
English: Saturday or Sunday close to August 15 of the lunar calendar: Tsukimi (Moon Viewing) Festival (Mozu Hachiman-gu Shrine, Kita Ward, Sakai City)
Japanese: 旧暦の8月15日に近い土・日曜日：月見祭（堺市北区(堺市)百舌鳥八幡宮）
English: Chozubachi originally referred to a bowl holding water for people to purify themselves by rinsing out their mouths before the altar of a shrine or a temple.
Japanese: 手水鉢（ちょうずばち）とは、元来、神前、仏前で口をすすぎ、身を清めるための水を確保するための器をさす。
English: Later, it came to be used in the tea ceremony, being placed in roji (a garden adjacent to a ceremonial teahouse), and developed the distinctive style called tsukubai (a stone washbasin).
Japanese: その後茶の湯にも取り入れられ、露地の中に置かれるようになり、つくばいと呼ばれる独特の様式を形成していった。