nntsuzu/KFTT huggingface dataset:
English: Too much smoke from Koboku resin, etc. due to excessive heat conduction is not preferable because it interferes with listening to incense.
Japanese: あまりに熱が伝わりすぎて香木の樹脂等から煙が出てしまうと、香りを聞くことの妨げになるため好ましくない。
English: At present, two schools, 'the Oie-ryu school' and the Shino-ryu school,' are considered mainstream.
Japanese: 現在は、「御家流」（おいえりゅう）と「志野流」（しのりゅう）が二つが主流となっている。
English: The Oie-ryu school was founded by Sanetaka SANJONISHI, and was succeeded to the high court noble Toshokuge (who was allowed to enter the Imperial Palace) as the Sanjonishi family, etc., but, was then later succeeded by officials called Jige (who were not allowed to enter the Imperial Palace).
Japanese: 三条西実隆を流祖とし、三条西家などの堂上公家によって継承されたが、後に地下に流れる。
English: After World War II, Kinosa SANJONISHI was recommended for Soke (grand master) by Rikyo ISSHIKI and Kagetsu YAMAMOTO, and thereafter, the Sanjonishi family succeeded Soke for three generations.
Japanese: 戦後、一色梨郷氏や山本霞月氏などにより、三条西公正氏が宗家に推戴され、以後三代に渡り三条西家が宗家を継承している。
English: Saneyoshi SANJONISHI, father of Kinosa SANJONISHI, was adopted from the Kazahaya family and hence belonged to the Oie-ryu family.
Japanese: 三条西公正氏の父三条西実義氏は御家流一門である風早家からの養子である。
English: The Shino-ryu school was started by Soshin SHINO (date of birth and death not certain), and succeeded by the present-day Hachiya family, the fourth head family of the school.
Japanese: 志野宗信（生没年未詳）を発端とし、4代目から現在の蜂谷家に引き継がれる。
English: The Yonekawa-ryu school is a branch of the Shino-ryu school, and was started by Johaku YONEKAWA who was admired as the founder and is known for giving lessons to Tofukumon-in, and it was supported by many Daimyo (Japanese feudal lord) families, most of which have since become extinct due to abolition of feudal domains during the Meiji Restoration.
Japanese: 東福門院に指南したことで知られる米川常伯を祖と仰ぐ志野流の分流で、大名家に広く支持されたが維新廃藩によりそのほとんどが絶えている。
English: The above outlined the lessons and the effects of Ko, and explains that incense is decided by quality, not quantity.
Japanese: 古くから香に関する訓や効用を記したもので、香りは量ではなく、質が重要としている。
English: The incense burning of the Shino-ryu school is performed by placing the Koro in the left hand, placing your thumb on the edge, turning the Koro around counterclockwise, directing 'kikisuji' (a thick line made on the ash when shaping the ash; the direction of this line corresponds to the front face of Koro) drawn on the ash, toward the opposite side of the listener, placing your right hand in the shape of a tube on Koro, and listening to the incense by approximating your nose in the tube.
Japanese: 志野流香道では、左手の上に聞香炉をおき、親指を縁に掛け、香炉を反時計回りにまわして灰の上に記される「聞き筋」（灰の上には形作るときに一本太い筋が作られるが、これを聞き筋といい、この方向が香炉の正面に一致する）を自分とは反対の側へ向け、右手を筒のようにして香炉の上に覆い、その間に鼻を近づけて香を聞く、という作法がある。
English: Hidori-koro: Incense burner used to encase and carry Tadon when performing procedures for listening to Ko
Japanese: 火取り香炉（ひどりこうろ）-手前をするときに、炭団を入れて持ち運ぶために利用する。
English: Ginyo-basami - Specially shaped scissor like tweezers used to handle Ginyo
Japanese: 銀葉挟（ぎんようばさみ）-銀葉を扱うときに利用する特殊な形をしたピンセットのようなもの。
English: Since this instrument is also used to hold Ginyo when putting it into Koro, the lower tip is flat-shaped for holding the Ginyo.
Japanese: 香炉にのせるときに、銀葉を抑えるのにも利用するため、手に持ったときに下側になる挟の先の部分が平らになっている。
English: Uguisu - Used in Kumiko when Komoto (host of incense ceremony; person performing procedures of handling Koboku) collects Honko-zutsumi (main incense package; Koboku wrapper on which an answer is written down) after putting Koboku in Koro
Japanese: 鶯（うぐいす）-組香において、香元（香木を扱う手前をする人）が香木を香炉にのせた後に、本香包み（答えが書いてある、香木を包んである紙）を、まとめるのに利用する。
English: Haboki - Used to remove ash from the edge of the Koro after cutting the ash (which means shaping the ash in Koro)
Japanese: 羽箒（はぼうき）-香炉の灰を切る（香炉の灰を形作ること）ときに、香炉の縁についてしまった灰を掃除するのに利用する。
English: Bon (tray), Hako (box) and related articles: Equipment used to store necessary items used for procedures, and used for various kinds of miscellaneous work
Japanese: 盆・箱、関連品：点前の必需品を納めたり、さまざまな雑用に利用される道具。
English: Jishiki - Paper spread under the instruments when Komoto performs procedures
Japanese: 地敷き（じしき）-香元がお点前をするときに道具を広げるところに敷く引きもの。
English: Koban - Board used to present an answer when submitted by a method called Fuda-kiki
Japanese: 香盤（こうばん）-札聞きと呼ばれる方法によって回答がなされるときに、答えを投票する板。
English: One set consists of 12 boards in total: three boards each with a picture of a plant on the front and a number, one, two, or three, on the reverse side (one board each with a picture of a star or moon at the edge, or no picture), and three boards for a guest.
Japanese: 表は植物の絵、裏に一から三の文字が3つ（月、星が縁に書かれているものと無地のもの各一つずつ）、客が3枚の計12枚が1セット。
English: The Chinese character of 'Ji' of Kyoji or Koji is 筯 (which is made up of two parts, "竹" in the upper part and "助" in the lower part), but it may not be displayed in some Japanese environments.
Japanese: きょうじ、こじの「じ」は筯（竹冠に助）であるが、一部の日本語環境では表示できないかもしれない。
English: During incense burning, Koshitsu (quality of Ko) of Koboku is likened to flavors, and categorized into the following five kinds: hot, sweet, sour, salty, and bitter.
Japanese: 香道では香木の香質を味覚にたとえて、辛・甘・酸・鹹（しおからい）・苦の5種類に分類する。
English: Additionally, Koboku is categorized into the following 6 types in accordance with their quality and quantity, and these 6 types are called Rikkoku.
Japanese: また、その含有樹脂の質と量の違いから以下の6種類に分類し、六国（りっこく）と称する。
English: Furthermore, Shin-kyara is sometimes added to Rikkoku-gomi, but is not seen in the older materials.
Japanese: また、さらに新伽羅（しんきゃら）が分類されることもあるが、これは古い資料には見られない。
English: Kumiko is performed by each guest answering as to whether the incense is same or different, in accordance with rules decided after collecting information on a wide range of fields from literal to general culture, and provides a strong feeling of playing a game.
Japanese: 文学的要素から一般的教養等、多種多様の分野に取材してルールが決められており、そのルールにのっとって香りの異同を当てるもので、非常にゲーム性に富む。
English: However, the essence is to listen to the incense, in order to escape to a world outside the bustle of daily activities, and to enjoy its style in silence, and there is no importance placed upon competition or about whether the answer is excellent one, or is correct or not.
Japanese: ただし、その本質は香りを聞き、日ごろの雑踏の外に身を置いて、静寂の中でその趣向を味わうことにあり、答えの成否、優劣を競うものではない。
English: The answer given by each guest is written down on a paper by a recorder (Shippitsu), and the guest who gets the highest score (if one or more guests gets the highest score, the guest closest to the main guest can apply to receive the paper) can obtain the paper.
Japanese: 客の回答は執筆とよばれる記録係によって記録紙に書筆、記録され、最高得点を取った人（複数いた場合は正客に近い順に）その記録紙をもらうことができる。
English: The paper contains descriptions of Kumiko by name, Ko-mei (names of Koboku and Takimono (incense)), answer, achievement, date, etc., and its appearance is a kind of art.
Japanese: 記録紙には、組香名、香銘、回答、成績、日付等が書き込まれ、その体裁は、ひとつの芸術品である。
English: Shoka (waka poem quoted as evidence of naming Koboku) is 'the water around Makomo (Manchurian wild rice) in a pond is increased by early-summer rain. Therefore, it is hard to tell which one is Ayame (iris)' (believed to be composed by MINAMOTO no Yorimasa).
Japanese: 証歌は「五月雨に池のまこもの水ましていつれあやめと引きそわつらふ」（源頼政か?）である。
English: While all of this was going on, three years had passed, this affair became known to Toba-in.
Japanese: そうこうしているうちに三年が経過し、このことが鳥羽院に知られてしまう。
English: Toba-in asked Ayame-no-mae about the situation, but she just turned red with embarrassment, and did not give any clear answer.
Japanese: 鳥羽院は菖蒲前に事情を聞くが、顔を赤らめるだけではっきりとした返事は得られない。
English: Then, Toba-in asked Yorimasa to come over, and offered to test whether Yorimasa only longed for Ayame-no-mae just because she was very beautiful, or because he really loved her.
Japanese: そこで、頼政を召し、菖蒲前が大変美しいというだけで慕っているのではないか、本当に思いを寄せているのかを試したいと発願する。
English: Then, Toba-in ordered two ladies who closely resembled Ayame-no-mae in age and appearance to wear the same kimono, and to walk out together and asked Yorimasa to distinguish which lady was Ayame-no-mae.
Japanese: そこで、菖蒲前と年恰好、容貌がよくにている女二人に同じ着物を着せ、頼政に菖蒲前を見分けて二人で退出するように申し付けた。
English: Yorimasa was confused because he could not make up his mind to confess that he loved a woman in favor with Toba-in, and did not have the confidence to tell her from other ladies because he saw her face only briefly.
Japanese: 頼政は、どうして院の御寵愛の女を申し出ることができようか、ちょっと顔を見ただけなのに見分ける自信がない。
English: When he was confused and hesitated by anticipating that, if he made a mistake, something untoward might occur, and not only he but also generations to come would be disgraced, Toba-in ordered him again, so, Yorimasa presented to Toba-in a poem saying that 'the water overflows the stone fence of the pond due to early-summer rain. Therefore, it is hard to tell which one is Ayame (iris)'.
Japanese: もし間違えれば、おかしなことになり、当座の恥どころか末代まで笑いものになってしまうと困って躊躇していると、院から再び仰せがあったので、「五月雨に沼の石垣水こえて何かあやめ引きぞわづらふ」という歌を院に奉る。
English: The reason why there are five types of Ko is because a poem consists of five lines, and the whole of Kumiko expresses the meaning of the poem.
Japanese: 香が5種なのは、五句から成る歌を示し、組香全体で歌の意味を表現する。
English: Prepare five kinds of Ko (one package of each incense without including trial incense to be numbered 1, 2, 3 and 5, respectively, and two packages of incense including one package of trial incense to be numbered 4).
Japanese: 5種の香を用意する（それぞれ、一、二、三、五として一包無試、四として二包内一包試）。
English: The reason why trial incense is included in 'No. 4' is because Yorimasa glanced covertly at Ayame.
Japanese: 「四」だけに試みがある理由は頼政がよそながら菖蒲を見たことがあるからである。
English: In order to find 'No. 4,' listen to all Ko and have each guest deduct Ko which are judged to be Nos. 1, 2, 3, and 5.
Japanese: 「四」のみを探すため、自分が一、二、三、五であると思った香は聞き捨てる。
English: Incense numbered 1, 2, 3 and 5 indicates court ladies standing with Ayame-no-mae (No. 4) in front of Yorimasa.
Japanese: 一、二、三、五は、菖蒲前（四）とともに頼政の前に並んだ女房たちをあらわしている。
English: Each guest writes down No. 1, 2, 3, or 5 in order of deduction by listening (because the order of listening to incense is unknown since the incense numbered 1, 2, 3 and 5 are not trial incense), and then insert the folded paper when No. 4 incense is recognized, and the guest writes 'Ayame' in the upper right to clearly show the existence of Ayame.
Japanese: 客は記紙に、聞き捨てた順に一、二、三、五とかく（これらは無試のため、香りの順番がわからないため）が、聞き当てる四の香を出たところに織り込み、右肩に「アヤメ」と記し、菖蒲の存在を明示する。
English: Shoka is 'Akikaze-no Fukiage-ni-tateru Shiragiku-wa Hana-ka-aranuka Nami-no-yosuruka' (from Kokinwakashu (Collection of Ancient and Modern poetry); composed by SUGAWARA no Michizane), and a scene is incorporated in Kumiko containing a poem that reads Shiragiku (white chrysanthemum) standing at Fukiage beach in the autumn breeze is so white that I mistake it for a lapping wave.
Japanese: 証歌は、「秋風のふき上げに立てる白菊は花かあらぬか波のよするか」（古今和歌集、菅原道真）であり、秋風の吹く吹上の浜に立っている白菊は、花なのか、それとも波が寄せているのか見間違えるほどだ、という歌の意味を組香のルールに取り込むことで、組香に情景を取り込んでいる。
English: Through these processes, the remaining incense can be emitted in the combination of one package of Akikaze, three packages of Shiragiku, two packages each of Akikaze and Shiragiku, or three packages of Akikaze and one package of Shiragiku, and this clarifies that the waka poem is incorporated so each guest can enjoy judging which, a flower or a wave, applies to the incense, by collecting information from the phrase; 'mistake it for a lapping wave' as shown in the waka poem, and to feel the sentiment.
Japanese: こうすると、残る香が秋風1包と白菊3包、秋風2包と白菊2包、秋風3包と白菊1包という出方がありえるが、これは、歌にあるように「花なのか、風によって作られる波なのかを見間違える」という点に取材し、客が、花と波のどちらであるかを判断するかを楽しむまた、情趣を感じられるようにように和歌を取り込んでいることがよくわかる。
English: In line with the answer given by each guest, Shippitsu writes down 'Chrysanthemum (菊)' if more guests answer chrysanthemum, 'Flower (花)' if the numbers of guests answering chrysanthemum and wind are the same, or 'Wave (波)' if more guests answer wind, under the answer written down by each guest on the recording paper.
Japanese: 執筆は客の回答にのっとり、記録紙の客の回答の下に、客の回答が菊多ければ「菊」、同数なら「花」、風多ければ「波」と記す。
English: This also implies the meaning of poem as a chrysanthemum if many guests answer flower, or a wave if many guests answer wind.
Japanese: これも、花が多ければ菊と見た、風が多ければ波と見たというように歌に重ねている。
English: Komoto shuffles these 25 packages, picks up five packages arbitrarily from these 25 packages, burns one package out of five packages, and passes Koro to guests in sequence, and then, guests listen to the incense.
Japanese: 香元はこの25包を切り交ぜ、中から任意の5包をとってひとつを炷き、客に香炉を順にまわし、香を聞く。
English: After Koro is passed to all guests five times, and all guests finish listening to the incense, each guest writes down whether the five kinds of incense are the same or different.
Japanese: 香炉が5回まわり、すべての香が終了したあと、客は5つの香りの異同を紙に記す。
English: First, draw five vertical lines, then draw a horizontal line so as to connect all vertical lines applicable to the incense judged to be the same (for example, 'Miotsukushi (name of the 14th roll of the Tale of Genji)' in the third column from the right on the second line on the right chart shows that the incense listened to first, second, and fourth time are the same, and the incense listened to third and fifth are independent, respectively).
Japanese: まず5本の縦線を書き、右から、同じ香りであったと思うものを横線でつないでいく（たとえば、右図の2段目右から3番目の「澪標」は、1,2,4番目に聞いた香が同じ香りで、3番目、5番目に聞いた香はそれぞれ独立した香りであるという意味）。
English: 52 patterns are made through combination of these five lines, and each of these 52 patterns in this chart correspond to each name of the 1st to 52nd rolls, excluding two rolls named Kiritsubo and Yume no Ukihashi, out of 54 rolls of the Tale of Genji.
Japanese: この5本の線を組み合わせてできる型は52通りあり、この52通りの図を源氏物語五十四巻のうち桐壷と夢浮橋の巻を除いた五十二巻にあてはめる。
English: Each guest verifies their own chart while looking at this 'Genji-ko-no-zu,' and answers the applicable roll name of the Tale of Genji.
Japanese: 客はこの「源氏香の図」を見ながら自分の書いた図と照合し、源氏物語の該当する巻名を書いて答とする。
English: Kurabeuma-ko is one of the ways to enjoy incense burning, and provides a very strong feeling of playing a game.
Japanese: 競馬香（くらべうまこう）は、よりゲーム性の強い香道の楽しみ方のひとつ。
English: Prepare four packages each of four kinds of Koboku (16 packages in total), burn one package each of four kinds of Koboku, and remember each incense.
Japanese: 4種の香木を4包ずつ（合計16包）用意し、4種を1包ずつ炷いて香りを覚える。
English: Remove two packages from the remaining 12, leaving 10 packages and then burn them at random, and guess which Kokoromi-ko (try incense) emits the same incense.
Japanese: つぎに残った12包から2包をとって10包とし、これを順不同に焚いて、試香の何番目と同じだったかを当てる。
English: Two pairs of horse-shaped and jockey-shaped pieces are put on the special board, and one score is required to allow the jockey to ride a horse, then the jockey on horseback can move forward 4 blocks whenever the team scores one point.
Japanese: 専用の盤上には、2頭のウマと騎手のコマが置かれ、騎手が乗馬するのに1点、あとは1点ごとに4マスを進める。
English: If the team does not score, its jockey will be judged as falling off his horse, and if a horse of either team is ahead of another horse by 5 or more blocks, its jockey is judged as falling from his horse.
Japanese: チームが0点であれば落馬とし、馬同士が5マス以上開くと、遅れているほうを落馬とする。
English: The following classical books about incense burning, Kodo-hidensho (book of secrets of incense burning) by Ryusho TATEBE, and Kodo-kihan (model of incense burning) by Sogo HACHIYA are in existence, and both were compiled in the Tensho period.
Japanese: 香道の古典書として建部隆勝（たてべりゅうしょう）の香道秘伝書と、蜂谷宗悟（はちやそうご）の香道軌範があり、ともに天正年間に編纂されている。
English: Goshawk, or sparrow hawk of Accipitridae, or falcon of Falconidae are trained to capture small animals such as birds and rabbit, which are changed to feed.
Japanese: タカ科のオオタカ、ハイタカ、及びハヤブサ科のハヤブサ等を訓練し、鳥類やウサギなどの小動物を捕らえさせ、餌とすりかえる。
English: It is thought to originate from Central Asia or the Mongolian plateau, but there is no established theory on its birthplace and date.
Japanese: 中央アジアないしモンゴル高原起源と考えられているが、発祥地と年代について定説はない。
English: Before modern times, original Taka-gari cultures flowered all over Eurasia and North Africa from Japan in the east to Ireland and Morocco in the west, and Mongolia and Scandinavia in the north and India in the south.
Japanese: 近代以前は、東は日本、西はアイルランド、モロッコ、北はモンゴル、スカンディナヴィア、南はインドに至るユーラシア/北アフリカ全域で各地方独特の鷹狩文化が開花した。
English: Today, while it has nearly disappeared in India and Iran where it was once popular, it is still practiced in the Americas and South Africa as well.
Japanese: 現代では、かつて盛行したインドやイランで絶滅しかけている反面、南北アメリカ及び南アフリカでも行われている。
English: In Japan, hunting by rulers implied a symbolic sense of authority and some clay figures in Kofun Period display a falcon on their arms.
Japanese: 日本では支配者の狩猟活動は権威の象徴的な意味を持ち、古墳時代の埴輪には手に鷹を乗せたものも存在する。
English: In the Chronicles of Japan, there is a description explaining that Taka-gari was practiced in the era of Emperor Nintoku (Nintoku 43) and Takakai-be who trained falcons, was appointed.
Japanese: 日本書紀には仁徳天皇の時代（仁徳紀43年）には鷹狩が行われ、タカを調教する鷹甘部（たかかいべ：鷹飼部）が置かれたという記録がある。
English: In ancient times areas where falconry was practiced was limited as Kinya (hunting grounds for the Emperor where the public was banned from hunting), and hoyoshi (by Taiho Code) and Shuyoshi (by Yoro-rei Act) who conducted Taka-gari for Emperor were appointed.
Japanese: 古代には鷹場が禁野として一般の出入りが制限され、天皇の鷹狩をつかさどる放鷹司（大宝令）/主鷹司（養老令）が置かれた。
English: Documents related to hoyoshi remain at Shoso-in Treasure Repository and wood strips related to Taka-gari were excavated from the site of Nagayao's residence.
Japanese: 正倉院に放鷹司関係文書が残っており、長屋王邸跡から鷹狩に関連する木簡が出土している。
English: In the early Heian Period, Emperor Kanmu, Emperor Saga, Emperor Koko, Emperor Uda, Emperor Daigo, and their descendants favored Taka-gari.
Japanese: 平安時代においては、初期の桓武天皇、嵯峨天皇、光孝天皇、宇多天皇、醍醐天皇らとその子孫は鷹狩を好んだ。
English: Emperor Saga wrote Chinese-style poems on Taka-gari and wrote 'Shinshu-yokyo' edited as a book of techniques for falconry (818).
Japanese: 嵯峨天皇は鷹狩に関する漢詩を残しているほか、技術書として「新修鷹経」を編纂させている(818年)。
English: After the mid-Heian Period, Emperor Ichijo and Emperor Shirakawa favored Taka-gari, but it was mainly practiced by aristocrats rather than Emperors.
Japanese: 中期以降においても、一条天皇、白河天皇などの愛好者が現れたが、天皇自身よりも貴族層による鷹狩が主流となる。
English: Taka-gari was also the subject of literature such as The Tale of Ise, The Tale of Genji, and Konjaku Monogatari (Tales of Times Now Past), in which there are some episodes related to Taka-gari.
Japanese: 鷹狩は文学の題材ともなり、伊勢物語、源氏物語、今昔物語等に鷹狩にまつわるエピソードがある。
English: In the world of Waka/Yamatouta Japanese poems, Taka-gari has been a subject divided into 'Otakagari' and 'Kotakagari' until medieval times.
Japanese: 和歌の世界においては、鷹狩は「大鷹狩」と「小鷹狩」に分けられ、中世にいたるまで歌題の一つであった。
English: In medieval times, Taka-gari started to be practiced among warriors and we can see how it was done in the Kamakura Period from descriptions on the Ippenshonin-eden picture scroll, Rokudo-e (painting of the six realms) of Shoju-raigo-ji Temple, Azuma-kagami (history book) and Soga-monogatari military epic.
Japanese: 中世には武家の間でも行われ始め、一遍上人絵伝や聖衆来迎寺六道絵の描写や吾妻鏡・曾我物語の記述に鎌倉時代の有様をうかがうことができる。
English: In "Nobunaga-koki (biography of Nobunaga ODA)" there is a description of him practicing Taka-gari in Higashiyama (Kyoto Prefecture) and that warlords from various provinces competed to present falcons to Nobunaga.
Japanese: 東山(京都府)で鷹狩を行ったこと、諸国の武将がこぞって信長に鷹を献上したことが『信長公記』に記載されている。
English: In addition, Soteki ASAKURA succeeded in the captive breeding of goshawk, which is the oldest record in the world as far as known at present.
Japanese: また、朝倉宗滴（宗滴）は、オオタカの飼育下繁殖に成功しており、現在判明している限りでは世界最古の成功記録である。
English: Taka-gari by court noble and its attendants had been also performed until it was forbidden by Ieyasu TOKUGAWA, and Jimyoin family and Saionji family of noble and Shimotsuke family of Jige (officer not allowed to enter the Imperial palace) had made Taka-gari their family business and wrote a technique book ('book of falconry') on Waka style or prose style.
Japanese: 公家及び公家随身による鷹狩も徳川家康による禁止まで引き続き行われ、公卿の持明院家、西園寺家、地下の下毛野家などが鷹狩を家業とし、和歌あるいは散文形式の技術書（「鷹書」）が著されている。
English: Sakihisa KONOE communicated with Nobunaga ODA as an authority of Taka-gari and gave a practical guide, 'Ryuzan-ko Taka-hyakushu' to Hideyoshi TOYOTOMI and Ieyasu TOKUGAWA as well.
Japanese: 近衛前久は鷹狩の権威者として織田信長と交わり、また豊臣秀吉と徳川家康に解説書「龍山公鷹百首」を与えている。
English: On the other hand, in the warrior class Taka-gari developed in combination with a ceremony to sacrifice a hawk in Suwa Taisha and Futarasan-jinja Shrines, and that led to the schools of falconry technique such as the Nezu school, the Ogasawara school, and Utsunomiya school, and moreover, the Yashiro school, the Arai school, and Yoshida school, split from descendant of Nobunao NEZU.
Japanese: 一方、武家においても、諏訪大社や二荒山神社への贄鷹儀礼と結びついて、禰津流、小笠原流、宇都宮流等の鷹術流派が現れ、禰津信直門下からは、屋代流、荒井流、吉田流などが分派した。
English: Taka-gari spread among busho (Japanese military commanders) in the Sengoku Period, among whom especially Ieyasu TOKUGAWA was famous as a devotee of Taka-gari.
Japanese: 戦国武将の間で鷹狩が広まったが、特に徳川家康が鷹狩を好んだのは有名である。
English: On the Ieyasu's portraits for prayer, which are known as Toshogu-Mikage (image of Toshogu, Ieyasu TOKUGAWA), a white hawk is often drawn.
Japanese: 東照宮御影として知られる家康の礼拝用肖像画にも白鷹が書き込まれる場合が多い。
English: Iemitsu is known to have made a place for falconry for the exclusive use of Shogun, appointed Torimi (officer for falconry) and built 'Takabo (鷹坊)' to feed falcons at Ninomaru (the outer citadel) of Edo Castle.
Japanese: 家光は将軍専用の鷹場を整備して鳥見を設置したり、江戸城二の丸に鷹を飼う「鷹坊」を設置したことで知られている。
English: The atmosphere of Taka-gari in the era of Iemitsu can be seen in the Edo-zu Byobu (folding screen with Edo-zu paintings).
Japanese: 家光時代の鷹狩については江戸図屏風でその様子をうかがうことができる。
English: The fifth Shogun, Tsunayoshi TOKUGAWA, abolished Taka-gari, step-by-step, by 'Shorui-Awaremi-no-rei,' ordinances for animal protection, but it was revived in the era of the eighth Shogun, Yoshimune TOKUGAWA.
Japanese: 五代将軍徳川綱吉は動物愛護の法令である「生類憐れみの令」によって鷹狩を段階的に廃止したが、八代将軍徳川吉宗の時代に復活した。
English: Among daimyo (Japanese territorial lords) Shigemura DATE, Shigehide SHIMAZU, and Naritoki MATSUDAIRA, are famous as devotees of Taka-gari and especially the books which Naritoki MATSUDAIRA collected for research are housed in Tokyo National Museum, Shimane prefectural library, etc.
Japanese: 江戸時代の大名では、伊達重村、島津重豪、松平斉貴などが鷹狩愛好家として特に著名であり、特に松平斉貴が研究用に収集した文献は、今日東京国立博物館や島根県立図書館等に収蔵されている。
English: After Meiji Restoration, Taka-gari was liberalized from the privilege of daimyo and came under control of a licensing system for nine years by 'Shuryo-kisoku (game law)' in 1892 and 'Shuryo-ho (Game Act)' in 1895, and after a revision of 'Shuryo-ho' 1901, Taka-gari has been liberalized except for the kinds and numbers of birds for hunting and the time and place for it.
Japanese: 明治維新後、鷹狩は大名特権から自由化され、明治25年の「狩猟規則」及び明治28年の「狩猟法」で9年間免許制の下に置かれたが、明治34年の改正「狩猟法」以後、狩猟対象鳥獣種・数と狩猟期間・場所の一般規制のみを受ける自由猟法として今日に至る。
English: In accordance with the will of Emperor Meiji, Takajo was employed and cultivated under the Shikibu-shoku (Imperial Household Ministry) but the actual hunting by the Imperial Household Agency was interrupted after the World War II.
Japanese: 明治天皇の意により、宮内省式部職の下で鷹匠の雇用・育成も図られたが、第二次世界大戦後、宮内庁による実猟は中断している。
English: The technique of Takajo of the Shogunate and Imperial Household Ministry was tranferred to private volunteers by Takajo such as Sentaro MURAKOSHI (c.1857-1937) and Kaoru HANAMI (1910-2002), who retired from the Imperial Household Ministry or Imperial Household Agency, so those who practice Taka-gari at present (except for Hidetoshi MATSUBARA) succeed either technique whether they identify with a specific school or not.
Japanese: 幕府・宮内省鷹匠の技術は、村越仙太郎（1857?-1937）・花見薫（1910-2002）ら、退職した宮内省/宮内庁鷹匠により民間有志に伝えられ、現在活動している鷹狩従事者（松原英俊を除く）は、特定流派名を名乗るか否かに関わらず、そのいずれかの技術的系譜を引く。
English: As an early private association, the Nihon Hoyo Club (Japan falconry Club), promoted by Godo NAKANISHI was established in 1936, but it was interrupted.
Japanese: 早期の民間団体としては、中西悟堂も発起人に名を連ねた日本放鷹倶楽部（1936）があったが中断した。
English: Descendants of Yutoku NIWA (丹羽有得) (1901-1993) who learned from Sentaro MURAKOSHI, established associations such as Nihon Takagari-bunka Hozonkai (Japan falconry preservation society), study group of Kakunojo MORI and Yoshida school Takagari Association, while descendants of Kaoru HANAMI established associations such as the Nihon Hoyo Kyokai (Japan falconry association) and the SUWA Falconry Preservation Society.
Japanese: 村越仙太郎に師事した丹羽有得（1901-1993）の門下からは日本鷹狩文化保存会、森覚之丞研究会、吉田流鷹狩協会など、花見薫の門下からは日本放鷹協会、諏訪流放鷹術保存会などが結成されている。
English: Nihon Takagari Club (Japan falconry club), which Soichiro OHARA established bringing Yutoku NIWA, seems to have been reorganized and renamed after his death in early life, changing its purpose from preservation, publication, and diffusion of Taka-gari tradition.
Japanese: 大原総一郎が丹羽有得を招聘して設立した日本鷹狩クラブは、その早世後、ある時期に鷹狩の伝統の保存・公開普及という目的から外れ、改組・改名されたらしい。