nntsuzu/KFTT huggingface dataset:
English: Almost 100% of the conveyer belts that move sushi plates in Kaitenzushi restaurants are manufactured in Ishikawa Prefecture with the two strongest – about sixty percent by Ishino Seisakusho (distributed by Kitanihon-Kakoh) in Kanazawa City and about forty percent by Japan Crescent in Yokoe-cho, Hakusan City.
Japanese: 回転寿司店で寿司を回転させるコンベアは、ほぼ100%が石川県で製造されており、金沢市の石野製作所（販売は北日本カコー）が約60％、白山市横江町の日本クレセントが約40%を占める二強体制である。
English: Since then, both companies developed conveyer belts with new functions for tea cups, Express (bullet train) Lane Staffless Conveyer (another conveyer belt to transport dishes quickly, while the normal one is rotating in normal speed), freshness control system (removing plates from the conveyer belt automatically staying too long after a certain period of time).
Japanese: 以後、湯呑搬送コンベア、特急（新幹線）レーン・スタッフレスコンベア（注文した品が通常と別のコンベアで搬送）、鮮度管理システム（一定の時間を経過した皿を自動的に排出）など、両社により新機構が開発されている。
English: Recently some Kaitenzushi chains audit the images of their restaurants without any notice to check if there are shortages of toppings.
Japanese: 最近の回転寿司のチェーン店では、ネタ切れのないように店舗画像の抜き打ちチェックをしているところもある。
English: Also the traditional type of sushi restaurants without conveyer belts are called 'fixed sushi' or 'stationary sushi' in common speech.
Japanese: また、従来型の（チェーンコンベアを使わない）寿司店を、俗に「固定寿司」や「回らない寿司屋」という。
English: Being a Japanese instrument, Kokyu is mostly provided with three strings (although some have four strings), and its shape is roughly a smaller version of the Shamisen - a three-stringed Japanese banjo.
Japanese: 和楽器であり、多くのものは3本の弦を持ち（4本のものなどもある）、ほぼ三味線を小型にした形をしている。
English: Almost the same materials for Shamisen are used; nowadays, for the neck part, koki (literally, red wood) or Shitan (rosewood) is used or quince (Fabaceae) for popular versions, and for the main body, Chinese quince is used, with leather of cat or dog and silk strings utilized as well.
Japanese: 素材も三味線とほぼ同じで、現在では棹に紅木(こうき)、紫檀(したん)、普及品にはカリン(マメ科)(かりん)が使われ、胴は花梨で、皮はネコまたは犬、弦(糸)は絹製である。
English: The bridges of Kokyu are quite different from those of the Shamisen; the places where they are placed are completely different, and their shapes and materials are also considerably different.
Japanese: 三味線と大きく異なるのは駒で、設置する位置も全く違うが、作りや材質も大きく異なっている。
English: The central portion of the wood part of the bow is bent slightly towards the hair side, or warped slightly inwards in the most cases.
Japanese: 弓の棹は中央部が毛側に向けてやや湾曲し、つまり内向きにわずかに反っているものが多い。
English: This hair is detachable; a cord is attached to the tip of the hair on the side of the hand; and the cord is tied to a small metallic ring attached to the wood part of the bow.
Japanese: これは取り外しができ、手元側に紐が付けられ、それを弓の棹に取り付けられた金属の小さな輪に結わえて留める。
English: Most of the bows of Kokyu that are used in the genre of Sangyoku (played in combination with Kokyu and two other Japanese instruments) are long, and bows with a hair length of seventy centimeters and a total length exceeding one meter are common.
Japanese: 三曲系で使われる弓は長いものが多く、毛の長さ70センチメートル、全長1メートルを超えるものも珍しくない。
English: It is unusual in the world that, for the same instruments, such a big difference exists for the bows depending upon the music genre where they are used.
Japanese: 世界的に見ても同じ楽器で種目によりこれほど弓に大きな差があるものは珍しい。
English: The trunk is made in the shape of a bowl, being different from that of Kokyu in the main islands of Japan (in olden times, the trunk was made by splitting the nut of coconut palms into halves), and the leather of a python is used for covering the trunk as those for Sanshin (Okinawan traditional three-stringed instrument).
Japanese: 胴は内地の胡弓と異なって椀型になっており（古くは椰子の実を二つに割って胴にした）、三線と同様にニシキヘビの皮を張る。
English: Therefore, Shinei MATAYOSHI, who was an expert of manufacturing Sanshin and was also famous as a Kucho player, developed four-stringed Kucho provided with a string for bass part additionally and made the instrument used widely (with three-stringed Kucho, the scores of these lower tones were played raised by an octave).
Japanese: そこで、三線の名工で胡弓演奏家としても著名であった又吉真栄が低音用の弦を新たに設けた四弦胡弓を開発し、普及させた（三弦胡弓では１オクターブ上の音を弾いて代用していた）。
English: However, since four strings were provided, making it necessary to increase the length of the peg box, most of the Kucho is made in the Yunagushiku type that originally uses a longer peg box.
Japanese: しかしながら、弦が４本になり糸倉を長く取る必要が生じたので、元々糸倉の長い型である与那城型（ユナグシク型）で製作されることが多い。
English: To change the string to be played, the Kucho player rotates not the bow, but the main body, as the Kokyu player on the mainland do.
Japanese: 奏法については内地の胡弓と同じく、弓ではなく本体を回転させて弦を移動し演奏する。
English: For the Kucho music scores, instructions for pushing the bow and other instructions for pulling the bow are added to the scores of Kunkunshi (score for Okinawa traditional three-stringed instrument) for Sanshin.
Japanese: 楽譜は三線と同様の工工四（クンクンシー）に押し弓弾き・引き弓弾きの指示を加えたものが用いられる。
English: Therefore, there is a possibility that the origin of Kucho was brought to Okinawa from the Kingdom of Thailand or Malacca in the fifteenth century when Ryukyu actively conducted trade with these areas.
Japanese: したがって、琉球がさかんに貿易をしていた15世紀頃にタイ王国やマラッカから原型が渡来した可能性がある。
English: Generally, it is sometimes used for indicating all the stringed instruments in Asia, but the definition is not clear.
Japanese: 一般的にはアジアの擦弦楽器を総称する時に使われることがあるが、定義は曖昧である。
English: Therefore, even Chinese stringed instruments erhu (two-stringed Chinese instrument played with a bow) and gaohu (Chinese bowed string instrument developed from the erhu) are sometimes commonly called Kokyu.
Japanese: そのためもあり特に、中国の擦弦楽器である二胡、高胡などを俗に胡弓と呼ぶことすらある。
English: Therefore, confusion between original Kokyu and these Chinese stringed instruments is generated, causing a problem (to differentiate from these Chinese stringed instruments, Japanese Kokyu is sometimes called 'Wa-Kokyu,' 'Yamato-Kokyu' or 'Japanese Kokyu' - both "Wa" and "Yamato" mean Japan or Japanese).
Japanese: そのために本来の胡弓との間に混同が生じており、問題化している（中国の擦弦楽器との区別のため和楽器の胡弓が「和胡弓」「大和胡弓」「日本胡弓」といった名称で呼ばれることもある）。
English: Consequently, some persons concerned with Kokyu and those concerned with erhu voice that these terms should be used correctly.
Japanese: このため、一部の胡弓関係者、二胡関係者により、正しい呼称の使用が呼びかけられている。
English: Kokyu first appeared in a document in the early Edo period, slightly later than that of Shamisen.
Japanese: 胡弓が最初に文献に現れるのは江戸時代初期であり、三味線と比較するとやや遅い。
English: According to a theory, Kokyu is not close to kokin (huqin - any Chinese string instrument played with a bow) related instruments, such as the erhu, but is closer to instruments in Southeast Asia.
Japanese: 中国の二胡など胡琴系楽器とはやや縁が遠く、むしろ東南アジアの楽器に近いのではないかという説がある。
English: In another theory, it is considered that Kokyu originates from the Rebec or Viol brought to Japan from Europe through trade with Spain and Portugal.
Japanese: また、南蛮貿易によりもたらされたヨーロッパのレベックやヴィオールに起源を求める説もある。
English: However, according to a theory, the founder of Shamisen music Kengyo ISHIMURA was an expert Kokyu player as well.
Japanese: しかいながら、一説によると三味線音楽の祖である石村検校も胡弓の名手だったという。
English: "Shikido Okagami" written by Kizan FUJIMOTO in 1678, who had an intimate relationship with Kengyo YATSUHASHI, describes that Kengyo YATSUHASHI improved the bow of Kokyu, changing its tones drastically.
Japanese: また、八橋検校と親交のあった藤本箕山が1678年に著した『色道大鑑』には、八橋検校によって胡弓の弓が改良され音色が著しく変わったことが書かれている。
English: In this way, it is known that blind musicians at Todo-za (the traditional guild for the blind) played Kokyu during almost the same period when Jiuta songs and Sokyoku (koto music) had been established.
Japanese: このように、地歌・箏曲の成立とほぼ同時に当道座の盲人音楽家たちによって胡弓が演奏されていたことが分かる。
English: The initial shape of the trunk of Kokyu was round, unlike that of the Shamisen.
Japanese: また、初期の胡弓は胴が丸形をしており、三味線とは異なった形をしていた。
English: After that, Kokyu music developed consequently with Jiuta songs using Shamisen (with three strings) and with So music (played with So - thirteen-stringed Koto).
Japanese: その後、胡弓音楽は三味線(三弦)の音楽である地歌、箏の音楽である箏曲と同時に発展した。
English: In addition, Kokyu became increasingly played for Jiuta songs or So music with other instruments, and in particular, the form of playing these three instruments in concert had been established.
Japanese: また地歌や箏曲に加わり他の楽器と合奏することも多くなり、特に三曲すべてを合わせる三曲合奏の形式が出来上がっていった。
English: In this way, Kokyu music was composed by blind musicians at Todo-za and has been handed down to subsequent generations until now.
Japanese: このようにして、胡弓音楽は当道座の盲人音楽家たちによって作られ、今に至るまで伝承されてきた。
English: Today, being often reported in the mass media, Kokyu accompanying ballads is known to the general public as well.
Japanese: 今日、マスコミなどでは民謡の胡弓が取り上げられることが多く、一般にも知られている。
English: Concerning the types of Kokyu, four-stringed one in addition to three-stringed one has been handed down to subsequent generations through the Fujiue school that was started by Kengyo FUJIUE in Edo during the middle of the Edo period.
Japanese: 胡弓の種類については、通常の三弦のもののほかに、江戸時代中期に江戸において藤植検校が藤植流を創始し、四弦の胡弓が伝承されている。
English: After the Meiji period, Michio MIYAGI developed Kokyu larger than those that had been ordinarily used, or Dai-Kokyu,, and composed music for this instrument.
Japanese: 明治以降には宮城道雄が、通常使われている胡弓を大型にした大胡弓を開発し、この楽器を用いた楽曲を作曲している。
English: Reikin was provided with three strings, but a wood plate instead of leather was used for the cover of the trunk.
Japanese: これは三本弦だが胡弓のように皮張りではなく板張りの台形胴を持っていた。
English: With its appearance similar to the Matouqin (stringed musical instrument) of Mongolian origin, it was initially played for accompanying Oiwake ballad.
Japanese: 外見はモンゴルの馬頭琴に類似しており、はじめは民謡の一形態である「追分」の伴奏に使われていた。
English: However, before long, it became to be played in New Japanese Music (music using Japanese instruments), which were popular at that time, enabling it to be played together with various instruments.
Japanese: しかしながら、やがて当時盛んになっていた「新日本音楽」に取り入れられ、様々な合奏で使われた。
English: Furthermore, a Kokyu player Kazuo HARA devised five-stringed Kokyu that enabled further lower tones to be generated after the Heisei period.
Japanese: また平成になって胡弓演奏家の原一男により低音域を拡張させた五弦胡弓が考案されている。
English: In the middle of the Edo period, the artistic level of music for Kokyu was raised by blind musicians and a school dedicated for Kokyu was established, composing music specialized for Kokyu.
Japanese: 江戸時代中期には盲人音楽家たちにより芸術音楽化が進み、胡弓独自の流派が立てられ、胡弓専門の音楽がつくられた。
English: Music including Kokyu-gaku as well as Jiuta songs and So music, both of which were also specialties for blind musicians, is called Sangyoku.
Japanese: これに、同じく盲人音楽家たちの専門である地歌・箏曲を合わせて三曲と呼ぶ。
English: In addition to the music specialized for Kokyu, Kokyu was played widely for a lot of Jiuta songs and for some So music as well.
Japanese: 胡弓専用の曲のほか、これら地歌曲の多くや箏曲の一部に胡弓を合奏することも盛んになった。
English: In particular, the performance in which all three instruments are played together is called Sangyoku-gasso and such concerts were held actively.
Japanese: ことに三曲の楽器すべてを合奏することを三曲合奏といい、盛んに行なわれた。
English: In this way, Kokyu was not only used for playing music specialized for Kokyu alone, but also played together with Shamisen or So or as a part of Sangyoku-gasso, which expanded music genres where Kokyu was played and made Kokyu used more widely.
Japanese: こうして独奏楽器として、また三味線・胡弓合奏、箏・胡弓合奏、三曲合奏の1パートとして胡弓楽のジャンルが広がり発展することになる。
English: However, after entering the latter half of the Edo period in particular, Kokyu-gaku, Jiuta songs, and So music were intermingled considerably to the extent that they were almost integrated, and the term of Kokyu-gaku almost ceased to be used.
Japanese: ただし、特に江戸時代後半となると、胡弓楽と地歌、箏曲は交流が著しくほとんど一体化してしまっているので、胡弓楽という言葉はあまり使われない。
English: In addition, after entering the Meiji period, Shakuhachi bamboo flutes instead of Kokyu mostly came to be used, reducing the occasions in which Kokyu was played.
Japanese: また明治時代になると、三曲合奏は胡弓の代わりに尺八を用いることが多くなり、胡弓の演奏は減少した。
English: However, even now, many of traditional Jiuta song schools and So music schools have been handing down music using Kokyu to subsequent generations.
Japanese: いかしながら、多くの地歌・箏曲の伝承流派は現在も胡弓の曲を伝承している。
English: Therefore, although there is no named school, the three large lines of the Osaka line, the Kyoto line and the Nagoya line exist correspondingly to the Ikuta school for Jiuta songs and So music.
Japanese: したがって、流派としては、地歌や箏曲の生田流に対応するものは流派を名乗っていないが大きく分けて大阪系、京都系、名古屋系がある。
English: It is also said that there existed the Wakizaki school following Kengyo WAKIZAKI, who was an expert Kokyu player active in Kyoto in the early nineteenth century.
Japanese: また19世紀初頭に京都で活躍した名手腕崎検校の流れである腕崎流が存在したとも言われ、
English: Furthermore, it is also said that the Shinagawa school of Kengyo SHINAGAWA existed, but anything about the school remains uncertain.
Japanese: その他品川検校による品川流があったとも伝えられるが、これについてはまったくわかっていない。
English: The Nagoya line keeps the tradition of Kokyu most faithfully, with two branches of the Yoshizawa school and the Terajima school.
Japanese: 名古屋系はもっともよく胡弓の伝承を守っており、吉沢派、寺島派に分けられる。
English: Playing for a Jiuta song or a piece of So music, Kokyu usually plays in unison with the song or music inconspicuously.
Japanese: 地歌曲や箏曲に胡弓を合奏させる場合、多くはほとんどユニゾンで目立ち過ぎぬように合わせる。
English: However, Yoshizawa gave independent melodies to Kokyu, arranging and composing highly technical pieces of music.
Japanese: しかしながら、吉沢は胡弓に独自の旋律を与え、非常に技巧的な作曲、編曲をしている。
English: Chidori no kyoku' (a song for plover), one of his compositions, is famous as an excellent Kokyu-specific piece of music, and is also well-known as an excellent piece of music for So.
Japanese: 作品のひとつ「千鳥の曲」は胡弓の本曲、名曲として、また箏の名曲として名高い。
English: In addition, when, for example, Kokyu was played together with So in 'Rokudan no shirabe' (Music of Six Steps), a piece of music for So, using the music score written by Yoshizawa, it is specifically called 'Nagasaki Rokudan' because the score was so unique and needed such a high skill level to play.
Japanese: また、たとえば箏曲「六段の調」に、吉沢の手付による胡弓パートが合奏される場合、特別に「長崎六段」と呼ばれるほど独自で技巧的な手付になっている。
English: The Kokyu music that has evolved together with Jiuta songs and So music and has been handed down to subsequent generations by blind musicians at Todo-za is called Kokyu-gaku.
Japanese: 地歌・箏曲とともに発展し、当道座の盲人音楽家によって伝承されてきた胡弓音楽を胡弓楽と呼ぶ。
English: Honkyoku, also called Honte-gumi, indicates pieces of music composed specifically for Kokyu, and each school has its own Honkyoku (although some schools do not).
Japanese: 本曲は本手組とも呼ばれ、胡弓本来のために作られた曲であり、各流派がほぼ独自の本曲を持っている(一部本曲のない流派もある)。
English: Some pieces of music for Kokyu, for example, "Tsuru-no-Sugomori" (a song depicting various aspects of the life cycle of the crane), were composed through playing for Shakuhachi bamboo flute music, and there are also pieces of music provided strongly with features of duets for Kokyu and So, for example, "Chidori no kyoku" described above.
Japanese: 曲によっては『鶴の巣籠』のように尺八楽との交流によって生まれたものもあるし、先の『千鳥の曲』のように箏との二重奏曲的性格の強いものもある。
English: In addition, "Semi no uta" (a song of cicadas) (composed by Kengyo YOSHIZAWA, and handed down in the Nagoya line) and "Okayasu-ginuta" (handed down in the Fujiue school, but its composer is unknown) are famous Honkyoku of Kokyu.
Japanese: このほか、有名な胡弓本曲に『蝉の曲(名古屋系・吉沢検校作曲)』、『岡安砧』(藤植流・作曲者不詳)などがある。
English: In particular, many pieces of Honkyoku have been handed down for generations in the Fujiue school, and even more pieces of Honkyoku existed in the Masajima school that became extinct towards the end of the Edo period.
Japanese: 特に藤植流には多くの本曲が伝えられており、また幕末に断絶してしまった政島流には更に多くの本曲があった。
English: Therefore, some pieces of Honkyoku are accompanied by So or Shamisen, or are taken into music for Jiuta songs or for So.
Japanese: 本曲でも伴奏として箏や三味線が入ったり、また地歌や箏曲に取り入れられたりしている曲もある。
English: Even after Michio MIYAGI, new pieces of music for Kokyu have been composed, although they are not so many.
Japanese: また宮城道雄以降、今に至るまで胡弓のための新作曲も多くはないながら作られている。
English: Having been popular in Osaka, Gidayu-bushi is significantly affected by Sangyoku, and such an example is the use of Kokyu in the performance.
Japanese: 義太夫節は上方で盛んだったためか、三曲の影響を色濃く受けている側面があり、そのひとつが胡弓を使う演奏といえる。
English: In particular, it is well known that Kokyu is played in the following scene: In 'the act of 'Akoya-kotozeme' of "Dannoura kabuto gunki" (The War Chronicles at Dannoura), Akoya, a woman of peerless beauty intimate with Aku Shichibei Kagekiyo (who has disappeared seeking for his enemy Yoritomo) is questioned severely about the whereabouts of Kagekiyo, and the doubt is cleared because she splendidly played the Koto (So), the Shamisen (Shamisen for Jiuta songs) and the Kokyu, with no confusion in the melodies she played.
Japanese: 特に『壇浦兜軍記』の「阿古屋琴責の段」では、頼朝を仇と狙い姿を消した、悪七兵衛景清の馴染みの傾城、阿古屋が景清の行方を詮議され、琴（箏）、三味線(地歌三味線)、胡弓を見事に弾いて、その旋律に迷いがないことから、景清の行方を知っているのではないかという疑いを晴らすという場面で、胡弓が用いられることが有名である。
English: Incidentally, when this program is played in Kabuki, it is customary that the male actor playing the female role of Akoya actually plays the three instruments.
Japanese: ちなみに、この演目が歌舞伎で上演される場合は、阿古屋を演ずる女形が3つの楽器を実際に演奏することが通例となっている。
English: Kokyu is also played in not a few other pieces of music for Gidayu-bushi such as in "Shoutsushi-Asagao-banashi" (Morning Glory Diary).
Japanese: そのほかの曲でも『生写朝顔話』など義太夫節では胡弓が用いられる曲は少なくない。
English: Concerning Kokyu in ballad, it is well known that Kokyu is used in 'Etchu Owara bushi' (a song for Japanese folk dance in Etchu - present day Toyama Prefecture) played in "Kaze-no Bon" (literally, wind Bon: Bon is a Buddhist festival for dead ancestors, held in summer) in the Yao area of Toyama City, Toyama Prefecture.
Japanese: 民謡における胡弓としては富山県富山市八尾地区の風の盆で演奏される「越中おわら節」などで使用されるのが有名である。
English: Some Kokyu specialized for Owara ballad have recently been provided with a neck slightly longer than that of standard Kokyu.
Japanese: おわら用とされている胡弓には近年、通常のものよりもやや棹が長く作られたものがある。
English: It is considered that as these songs were played outdoors, it was necessary to make the lengths of the strings longer to increase the volume of the sounds.
Japanese: これは野外での演奏のため、弦長を大きくして張力を高め、音量の増大をはかったものと思われる。
English: However, the portion from the bend is made longer than the other portion from the bend, which is nearer to the playing hand, and therefore, the angle between the hair and the wood of the bow is larger at the portion nearer to the playing hand.
Japanese: ただし湾曲部より先はむしろ長めにしてあり、つまり手元から先に向けての棹と毛の離角が大きい。
English: Kokyu is sometimes used in traditional local attractions, such as puppet shows and hayashi (music performed with traditional Japanese instruments for making the atmosphere cheerful) in festivals, and in some areas, Kokyu was played in the past by farmers as one of their side jobs or by Goze (blind female musicians) as Kadotsuke (performance in front of the gate of houses).
Japanese: 地方の人形芝居や祭りの囃子など民俗芸能に使われることもあり、かつて地方によっては農民の冬の副業として、また瞽女（ごぜ）によって、門付として演奏されることもあった。
English: In Tenrikyo and its related sects, Kokyu is played together with other instruments in its ceremonial music.
Japanese: 天理教及びその傍系宗教において、儀礼音楽の中で他の楽器と共に演奏される。
English: In this case, a zither-family stringed instrument called Hatsuse goto is sometimes used, but nowadays, Hatsuse is seldom used and it seems that Kokyu is mostly used instead.
Japanese: この場合、「初瀬琴」と呼ばれる弓奏のツィター属弦楽器が使われたことがあるが、現在ではほとんど使用されず、もっぱら胡弓を使用するようである。
English: Kokyu is made in the same shape as that of the Shamisen, but smaller in size, and the tuning can be made in the same way as that of the Shamisen.
Japanese: 三味線を小型にしたような形を持つ胡弓は、三味線と同様の三味線調弦が可能である。
English: Genkareki is one form of Chinese calendar, a lunisolar calendar formerly used in China and Japan.
Japanese: 元嘉暦（げんかれき）とは中国暦の一つで、かつて中国・日本などで使われていた太陰太陽暦の暦法。
English: It is rekiho (method of making calendars) organized by He Chengtian, an astronomer in Song (Southern Dynasty) during the period of the Northern and Southern Dynasties (China).
Japanese: 中国・南北朝時代(中国)の宋(南朝)の天文学者・何承天が編纂した暦法である。
English: It was used in Song, Qi (Southern Dynasty) and Liang (Southern Dynasty) for sixty-five years from 445 to 509.
Japanese: 中国では南朝の宋・斉(南朝)・梁(南朝)の諸王朝で、元嘉22年（445年）から天監8年（509年）までの65年間用いられた。
English: There are seven leap months in nineteen years; one solar year consists of 365 and 75 over 304 days (≒365.2467 days) and one synodic month consists of 29 and 399 over 752 days (≒29.530585 days).
Japanese: 19年に7閏月を置き、1太陽年を365+75/304日（≒365.2467日）、1朔望月を29+399/752日（≒29.530585日）とする。
English: He Chengtian pointed out that the winter solstice in the Jingchu calendar was three days away from the actual winter solstice because it was based on measurements used in the quartered calendar of the Later Han Dynasty, and conducted astronomical observation again.
Japanese: 何承天は、景初暦の冬至が後漢四分暦の観測値に従っていたため、実際の冬至より3日もずれいていることを指摘し、天体観測のやり直しを行っている。
English: Furthermore, he tried to use the true conjunction, in which the slow motions of the moon were taken into consideration, for determination of the first day of a month, but it was not adopted because of many adverse opinions.
Japanese: また朔日の決定に月の遅速を考慮した定朔法を用いようとしたが反対が多く採用はしなかった。
English: It is believed that at first Reki hakase (Chief court calendar-maker) who had come from Baekje organized the calendar or that a calendar of Baekje was used as it was.
Japanese: 当初は百済から渡来した暦博士が暦を編纂していたか、百済の暦をそのまま使用していたと考えられる。
English: In 602, Kanroku, a scholar monk, came to Japan from Baekje with calendar books and had the naturalized citizens' descendants study those books.
Japanese: 推古天皇10年（602年）に百済から学僧・観勒が暦本などを携えて来日し、帰化人系の子弟らにこれらを学習させた。
English: In "Seiji Yoryaku (Brief Outline of Government)," a book written in the Heian Period, it is recorded that the first calendar made by the Japanese people was distributed on the first day of January in 604, and it is believed that the said calendar was based on Genkareki.
Japanese: 平安時代の書物『政事要略』には、推古天皇十二年正月朔日に初めて日本人の手によって作られた暦の頒布を行ったとの記述があり、これは元嘉暦によるものであったと考えられる。
English: As a preparation for adoption of Gihoreki, a new calendar imported from China, Genkareki and Gihoreki started to be used together in 692 (or 690, according to some theory), and after five years Genkareki was abolished and Gihoreki was formally adopted in 697.
Japanese: 持統天皇6年（692年）から（持統天皇4年（690年）からとの説もある）、中国から輸入した新しい暦である儀鳳暦を試用するため元嘉暦との並用を始め、5年後の文武天皇元年（697年）からは元嘉暦を廃して儀鳳暦を正式に採用することとなった。
English: On February 26, 2003, mokkan (a narrow strip of wood on which an official message is written) which showed guchureki (Japanese Lunisolar calendar) based on Genkareki was discovered in Ishigami site in Asuka-mura, Nara Prefecture, which is considered to have been a guest house in the Asuka Period.
Japanese: 2003年2月26日、飛鳥時代の迎賓館跡とされる奈良県明日香村の石神遺跡から、元嘉暦に基づく具注暦を記した木簡が発見された。
English: Nara National Research Institute for Cultural Properties announced that inspection showed that it was a calendar of March and April of the year 689.
Japanese: 検証の結果、これが持統天皇3年（689年）三月・四月のものであることが分かったと奈良文化財研究所が発表した。
English: No actual calendar based on Genkareki exists even in China, so the said mokkan is a very valuable material.
Japanese: 元嘉暦による暦の実物は中国にも残されておらず、大変貴重な資料である。
English: Kaijitsu, tsugomori or misoka is the last day of month in the Chinese and Japanese calendars, which are lunisolar calendars.
Japanese: 晦日（かいじつ、つごもり、みそか）は、太陰太陽暦の暦法である中国暦、和暦の月の最終日のことである。
English: It originates from the moon phase: gen, bo, tsugomori, and saku; 'saku' means the appearance of the moon while 'tsugomori' means the disappearance of the moon.
Japanese: 月相を表す弦・望・晦・朔に由来するもので、「朔」が月が現れることを意味するのに対し、「晦」は月が隠れることを意味する。
English: Tsugomori,' a kun-yomi (Japanese reading of character) for kaijitsu, once was 'tsukigomori' (the disappearance of the moon), which had originally meant 'kai' in the moon phase.
Japanese: 晦日にあてられる訓読みのうち、「つごもり」は「月隠り（つきごもり）」が転じたもので、本来は月相の「晦」の意味である。
English: Misoka,' was originally an old way of saying '三十日,' literally means the 30th day, but it came to mean the last day of the month regardless of its actual date.
Japanese: 「みそか」は本来は「三十日」の古い表現（ふつか、みっか、…と続く先にある言葉）だが、実際の日付にかかわらず月の最終日を指す。
English: Since there is no 30th day in the month when 'misoka' refers to the 29th day, confusion is not expected.
Japanese: 「みそか」が29日を指す月には30日は存在しないので、混乱が起こることはない。
English: The final misoka, that is, the final day of the year is called 'Omisoka' or 'Otsugomori.'
Japanese: 一年で最後の晦日、つまり最後の日を「大晦日（おおみそか、おおつごもり）」という。
English: Normally, it is the last day of December in the old calendar, but becomes the last day of intercalary December when it is in intercalary year and its intercalary month is intercalary December.
Japanese: これは通常は12月(旧暦)晦日だが、閏年でしかも閏月が閏十二月のときは、閏十二月晦日である。
English: Giho reki is a Chinese calendar and is a lunisolar calendar which was compiled by Chunfeng LI, an astronomer during the Tang dynasty.
Japanese: 儀鳳暦（ぎほうれき）とは中国暦の一つで、中国唐の天文学者・李淳風が編纂した太陰太陽暦の暦法である。
English: Rintoku reki of the Tang was used for 73 years from 665 to 728.
Japanese: 唐の麟徳暦は、麟徳2年（665年）から開元16年（728年）までの73年間用いられた。