nntsuzu/KFTT huggingface dataset:
English: He was not a mere historical researcher of gardens but also produced gardens himself such as Tennoji-koen (Tennoji Park), outer park of the Ise Kotai-jingu Shrine and the Toyouke-daijingu Shrine and he restored scenery in Ritsurin-koen park and even produced a Nihon teien exhibited in The Japan-British Exhibition held in London, and Kyuka-koen Park for centennial festival of Sadanobu MATSUDAIRA at his own birth place, Kuwana City, Mie Prefecture built in 1928.
Japanese: 小沢は単なる庭園史の研究家でなく自らも日本庭園を作庭し、天王寺公園や伊勢皇大神宮・豊受大神宮の外苑、栗林公園の修景のほか、ロンドンで開催された日英博覧会に出展された日本庭園、また自身の故郷三重県桑名市では1928年に松平定信百年祭にともない造られた九華公園などの作品がある。
English: Not only gardens, he also has a deep knowledge of the Chinese classics and he described a collection of Chinese poems, 15 volumes of "Banseido Shiso."
Japanese: また庭園研究のほか、漢学への造詣が深く、漢詩文集『晩成堂詩草』15巻を書いている。
English: The large scale residences and attached gardens built during late Meiji era Tokyo by the newly risen bourgeoisie were introduced by Shoichi KONDO's "Meien 50-shu" (50 types of excellent gardens).
Japanese: 明治後半期の東京に数多く建てられた新興ブルジョアジーたちの大邸宅庭園の様子は近藤正一『名園五十種』にも紹介されている。
English: In this book, gardens that combine Japanese and Western styles of architecture are detailed, and it is understood that the residence of Eiichi SHIBUSASWA, Aii-sonso (Aii country house) has both Japanese and Western houses, a Western style garden as well as Japanese style garden, and a tea ceremony room and a garden around a tea house.
Japanese: 同書で折衷式の庭の様子がよくわかり、渋沢栄一の邸宅愛依村荘は広大な敷地の中に日本家屋と洋館が建ち並び、洋風と和風の庭園、また茶室と茶庭を兼ね備えていることがわかる。
English: While the Mitsubishi Fukagawa Shinboku-en (the Mitsubishi Fukagawa Shinboku Garden) was designed by a tea master and garden producer Soyo ISOYA of the Mushanokoji family in Kyoto, the western style house in it was accomplished by Josiah Conder.
Japanese: また京都武者小路一門の茶匠で造園家の磯谷宗庸設計の三菱深川親睦園日本庭園内の洋館はジョサイア・コンドルが手がけた。
English: After that, Conder built Kyu-Iwaski-tei-teien (the former Iwasaki Residence Park) where a Japanese style residence with garden, and a Western style house with garden coexisted, Tsunamachi Mitsui Club, Rokka-en (Rokka-en Garden), and the former Furukawa-teien (the former Furukawa Garden).
Japanese: コンドルはこの後和風住居や庭園と洋館・洋風庭園を並存した旧岩崎邸庭園や綱町三井倶楽部、六華苑、旧古河庭園などを手がけていく。
English: Murin-an hut Aritomo YAMAGATA built in 1896 west of Nanzen-ji Temple in Kyoto was also skillfully landscaped ion a narrow piece of land and used Higashiyama as shakkei and a stream was supplied from a canal that runs through its turf.
Japanese: 山縣有朋が1896年京都の南禅寺の西に造った無鄰庵も、さほど広くない敷地をうまく使って東山を借景とし、疎水からひいた流れが芝生の間をぬっている。
English: Jihei OGAWA (Ueji), who constructed Murin-an hut, later built many famous gardens such as Nomura Hekiun-so (Nomura Hekiun country house), the garden of the Heian-jingu Shrine, the garden of the Sumitomo family (Keitaku-en garden), the main garden of Keiun-kan in Nagahama, the Fukasawa residence garden in Tokyo of Mrs. Yone and Mr. Kinya NAGAO, and their second residence in Kamakura, Senko villa.
Japanese: 施工にあたった小川治兵衛(植治)は、その後、南禅寺近辺に野村碧雲荘、平安神宮神苑、大阪の住友家庭園（慶沢園）、長浜の慶雲館本庭、長尾欽也（欣也）よね夫妻の東京深沢邸宅の庭園と鎌倉別邸扇湖山荘庭園など、数々の名園をつくった。
English: Shintaro Oe who landscaped Senko villa with ueji, presented the idea that methodology leads to the design of gardens, which is not a view point of other gardeners nor a way to appreciate gardens, a discussion titled "The Designs of Landscape Gardening" in Ars Complete Lectures of Architecture published in 1924.
Japanese: 植治とともに扇湖山荘を手がけた大江新太郎は1924年『アルス建築大講座』に掲載された「作庭意匠」と題する論考でほかの建築家の視点、庭園鑑賞に関してではない、庭園設計にいたる方法論を展開している。
English: In the published drawings, lines representing views and the fields of visions from the major points in a garden are indicated, and he added tsuboniwa (a small garden made between buildings or as a part of a building) and gakeniwa (a garden on a cliff) to the three conventional demarcation of Japanese gardens, namely Tsukiyama (artificial hill), Hiraniwa (plain garden), roji, and cited Nageire-do of the Sanbutsu-ji Temple as a typical example of gakeniwa.
Japanese: 掲載された図面には園内要所からの眺望視界線が記入されているほか日本庭園の分類を従来の築山、平庭、露地の3つに壷庭と崖庭を加えていて、崖庭の好例として三仏寺投入堂を挙げている。
English: From the Taisho period to the Showa era, many gardens that skillfully utilize natural landscapes and environments were produced.
Japanese: 大正から昭和にかけては自然の地形や環境を巧みに利用した庭園が数多く生まれる。
English: A garden that utilized, with dexterity, a valley in a cliff of a terrace built during the Taisho period, Tonogayato-teien (Tonogayato Garden), a second residence of Sadae EGUCHI, who later became the vice president of Southern Manchuria Railways Co. and second residence, Sorosen-en garden of Shogoro HATANO, and the garden showing the landscape of Musashi-no (the field of Musashi province) at the time, the residence of Roka TOKUTOMI, the Roka Koshun-en garden were produced.
Japanese: 大正期に造成された段丘の崖にできた谷を巧みに利用した後の満鉄副総裁江口定條の別邸殿ヶ谷戸庭園や波多野承五郎の別邸滄浪泉園、武蔵野の風景を伝える徳富蘆花住居蘆花恒春園などが生み出されている。
English: These sophisticated gardens left in Tokyo were newly restored and opened to the public like Kokyo Higashi Gyoen (the East Garden of the Imperial Palace), Soma-tei teien (the Soma Residence Garden) handled by Yasuhei NAGAOKA, the pioneer of modern gardens and a garden now called the Otome-yama park in Shinjuku Ward.
Japanese: これらの東京に残る名園は皇居東御苑や祖庭長岡安平が手がけた相馬邸庭園、現新宿区おとめ山公園などのように再整備され、現在一般公開されるに至る。
English: The inner garden of the Meiji-jingu Shrine produced by Yoshichika KODAIRA and others who worked for the Ministry of the Imperial Household has a gently curved garden path on the turf, and a forest with miscellaneous small trees and a natural looking pond, which was called a naturalistic garden.
Japanese: 宮内省にいた造園家小平義近らの明治神宮内苑は、芝生の間をゆるいカーブの園路がめぐり、自然主義の庭園といわれる、雑木の多い森と人工とも思われない池をもつ。
English: Kodaira comprehended the way conventional Japanese gardens were made while being involved in constructing many Imperial gardens at the time, and tried to add characteristics of a large-scale garden of the natural scenery style prevailing in advanced countries like in Europe and America.
Japanese: 小平は当時多くの宮苑造成に関与する中それまでの日本庭園のあり方を咀嚼し、その上で新宿御苑のように当時の欧米先進国で数多く試みられていた自然風景式大規模庭園の特徴を加味することを試みている。
English: And there were some landscapers who did not copy of scenery, but embodied the taste of natural scenery in their gardens, and they became plastic and decorative gardens filled with subjectivity.
Japanese: また写景でなく、自然の景趣を写そうとするものも現われ、作庭者の主観の強い造形的、装飾的な庭園となった。
English: Rokasensui-so (Rokasensui country house) in Otsu City was created by a painter, Shunkyo YAMAMOTO together with gardener Seigoro MOTOI, and was said to be a garden of literary taste, and Saichi KOJIMA who took over the style produced the Kawada Residence garden in Kyoto City.
Japanese: 画家の山元春挙と造園家の本位政五郎が造った大津市の蘆花浅水荘は文人風の庭といわれ、これを継いだという小島佐一にも京都市の川田邸の庭がある
English: The garden of miscellaneous small trees propelled by Juki (Torasaburo) IDA in the early Showa era called by Juki as "natural taste" (Juki called other gardens as "gardening taste"), and the style was taken over by Kenzo OGATA and rapidly spread as cities became increasingly artificial.
Japanese: 昭和の初め頃に飯田十基(寅三郎)が推進した雑木の庭は、十基自ら「自然風」とよび（十基は他を「作庭式」と呼んだ）その後小形研三に継がれ、都市の人工化とともに急速に広まっていった。
English: What Juki IDA and his sympathizers did differently from Ueji was they found miscellaneous small trees grown naturally in the fields and mountains of the entire country are robust and consist of a number of species and are easy to transplant, and they were able to depict nature by themselves, in full-scale.
Japanese: 飯田十基らが植治と異なるのは、雑木という全国の山野に自生して、強健で種類も多く、移植しやすい材料を求め、それ自体を原寸大で自然に見せる手法を確立した点である。
English: Later, this method succeeded because of the availability of material supply and transport, closeness of the field as a reference, the establishment of selection methods, and the formularization of cultivation of immature trees.
Japanese: その後、材料調達・運搬の容易さ、原野という参照項の手近さ、選定方法の確立、未成木の植栽方法の定式化によってこの方法は伝えられた。
English: A garden with natural taste of the Juki IDA harmonized with the buildings made of steel, glass, and concrete, wide premises, and narrow ones.
Japanese: 飯田十基の自然風のこうした庭は鉄やガラス、コンクリートの建物にも広大な敷地にも狭いそれにも不調和を見ない形式であった。
English: During the Taisho era, how modern urban areas and residences should develop and become part of the movement of life improvement in the architecture world, along with gardening, drew attention.
Japanese: 大正期には建築界では都市と住宅のあり方は新しいテーマとして浮上し、生活改善運動の一環として住宅庭園にも関心が高まる。
English: Theories about gardening amongst modern architects differ in view points from that of Sakutei-ki, namely not in the visual evaluation of a garden, but functionality and spatial evaluation was thought to be more important.
Japanese: 近代建築家による庭園論では作庭記に代表される視覚的な庭園評価とは異なり、機能性や空間性を重視した視点が打ち出されている。
English: At the time, gardens were included in the 6 principles of the union of life improvement, and the Association of Japanese Gardens was established in 1919.
Japanese: 当時生活改善同盟会による6つの網領の中に庭園が項目としてあげられ、さらに1919年に日本庭園協会が設立されることとなる。
English: Mainly initiated by the Association of Japanese Gardens, research on old gardens and investigations of new gardens were conducted by contemporary architects, gardeners, and the garden producers.
Japanese: 協会を中心に古庭園の研究や、同時代の建築家や造園家、作庭家らが新しい庭園を模索した。
English: Minoru KOUDA energetically wrote about garden-related columns and Katsuya YASUOKA published many books regarding invitation to tea-ceremony rooms and architecture in the style of a tea-ceremony pavilion.
Japanese: 古宇田実は庭園関連の記事を精力的に執筆し、保岡勝也は茶室や数寄屋建築と庭園を紹介する書物を多く出版している。
English: Mirei SHIGEMORI, who started to research gardens alongside this movement, measured gardens remaining in the whole country, and when entering Showa period, produced many karesansui gardens, and criticized naturalistic gardens existing within temples and revived symbolic gardens.
Japanese: またこれと平行して庭園の研究を開始した重森三玲は、全国に現存する庭園を実測し、また昭和に入ってからは寺院に多くの枯山水の庭園をつくり、寺院における自然主義的な庭園を批判して象徴的な庭園を打ち立てた。
English: The job of measuring gardens was also done by Fumitaka NISHIZAWA as well as Shigemori, and their exquisite measuring charts were published and compiled as measured drawings.
Japanese: 庭園の実測は重森のほか戦後の西沢文隆の実績が知られ、その膨大で精妙な庭園の実測図は実測図集として出版されている。
English: The following three gardens are major Daimyo gardens to appreciate snow, the moon, and blossoms and are called the three outstanding gardens in Japan or the three largest gardens in Japan.
Japanese: 以下の三つの日本庭園は、それぞれ雪月花を鑑賞する代表的な大名庭園として、日本三名園あるいは日本三大庭園と呼ばれる。
English: It is pointed out that not all types of Nihon teiens were considered and the chosen three are all large scaled Daimyo teiens.
Japanese: いずれも江戸時代につくられた広大な大名庭園が選ばれている点で、日本庭園すべてを考慮したものといえないことも指摘されている
English: In the latter half of the 19th century, Japanese gardens including garden stones, arch bridges, garden lanterns and a tea-ceremony houses were being built in Europe and in America as the Japonism came into style there.
Japanese: 19世紀後半、欧米圏ではジャポニズムの流行とともに、庭石・太鼓橋・灯篭・茶室などを配した日本風の風景式庭園がつくられるようになった。
English: Although there are gardens designed by local gardeners who only imagined Japan and produced their own wild designs by the inviting Japanese workmen, they are also called Nihon Teiens (Japanese gardens).
Japanese: 現地の作庭家が日本をイメージして奔放に制作したものもあれば、日本から職人を招いて制作したものもあるが、いずれも「日本庭園」（JapaneseGarden）と称される。
English: The Paris World Exposition held in 1867 was the first international exposition where Japanese delegations were dispatched (Tokugawa shogunate, Satsuma clan, and Saga clan), and since a Nihon teien was produced for the first time outside Japan in this expo, Nihon teien has been one of the eye-catchers among the exhibits.
Japanese: 1867年のパリ万国博覧会(1867年)は日本（江戸幕府・薩摩藩・佐賀藩）が初参加した国際博覧会であったが、このときに日本庭園が制作されて以来、欧米で開催された万博において日本庭園は日本の出展物の目玉の一つであった。
English: In Europe, the aristocracy and millionaires actively produced Japanese style gardens and also in the North American Continent, Japanese style gardens and tea houses were produced in the corner of parks.
Japanese: ヨーロッパでは貴族や富豪が日本風庭園を作るようになり、北米大陸でも公園の一角に日本風庭園や茶亭が制作されるようになった。
English: A Japanese gardener who worked during this period in Europe was Wasuke HATA and in the North America it was Isaburo KISHIDA.
Japanese: この時期、ヨーロッパで活動した日本人庭師に畑和助ら、北米で活動した日本人庭師に岸田伊三郎らがいる。
English: A British architect Josiah Conder who visited Japan as Oyatoi-Gaikokujin (foreign residents in Japan employed to teach new techniques) published "Landscape gardening in Japan" in 1893 from the Publisher, Kelly & Walsh.
Japanese: お雇い外国人として来日していたイギリス人建築家ジョサイア・コンドルは、1893年に『日本庭園入門』（LandscapegardeninginJapan）をケリー・アンド・ウォルシュ社から出版した。
English: He wrote about the history of Nihon teiens and the method of composition, citing photographs taken by Isshin OGAWA, and made it easier to understand visually, Conder explained the idea behind Japanese landscape gardening is to pick up the characteristic part of the surrounding environment and re-present them.
Japanese: 日本庭園の沿革から構成方法いたるまでを小川一真の撮影による写真を多く用いて視覚的にもわかりやすくまとめたもので、コンドルは、日本の庭園造形は周囲の自然風景の特徴ある部分を選び出してレ・プレゼントしたものである、と説明している。
English: This book was sold in Shanghai and Singapore besides England, and according to Sanehide KODAMA, at the time, Nihon teiens were in fact produced by referring to this book overseas and in the United States.
Japanese: この本はイギリスのほか上海やシンガポールでも販売され、児玉実英によると、当時この本を参考にアメリカなど海外で日本庭園が実際に造られたとされる。
English: This book was reprinted in America after the World War II, and also a reprinted edition has been published by Kodansha International today.
Japanese: 第二次世界大戦後はアメリカで復刻され、現在でも講談社インターナショナルで復刻版が刊行されている。
English: After the World War II, as part of cultural exchanges between sister cities, sometimes Nihon teiens are newly designed by Japanese landscape gardeners.
Japanese: 第二次世界大戦後は、姉妹都市間の交流の一環などとして新たに日本人作庭家の設計による日本庭園が作られることがある。
English: Suikinkutsu is a decoration device in a Japanese garden that generates a sound like the koto (Japanese harp) with drops of water.
Japanese: 水琴窟（すいきんくつ）は、日本庭園の装飾の一つで水滴により琴のような音を発生する仕掛けである。
English: About structure, it is an inverted jar with a tiny hole in the bottom buried in the soil and the bottom is fixed with clay such that it collects some water.
Japanese: 構造としては底に小さな穴の開いた瓶が逆さに伏せた状態で土中に埋められており、底は水が溜まるように粘土などで固められている。
English: A wash basin (Chozu-bachi) is generally set above, and water drips from there and drops through the hole of the jar.
Japanese: 上には一般的に手水鉢（ちょうずばち）が置かれておりそこから流れ落ちる水が瓶の穴を通して滴り落ちるようになっている。
English: A traditional Suikinkutsu is often built in the Tsukubai (stone wash basin found in Japanese gardens) in front of the tea-ceremony house.
Japanese: 伝統的な水琴窟は茶室前のつくばい（つくばい）に併設されることが多い。
English: In order for the Suikinkutsu to emit a good sound, adjustment is necessary for the combination of each element, such as the jar.
Japanese: 水琴窟でよい音を出すには瓶など各要素の組み合わせとその調整が必要である。
English: While in recent years, there have been also metal jars, it is assumed that the most suitable jars are unglazed earthenware for storing rice grain or water.
Japanese: 近年は金属製のものもあるが瓶は米や水溜め用の素焼きの陶器のものが水滴を作るのに最も適しているとされる。
English: The depth is from 30cm to 1m, the diameter is from 30cm to about 50cm, and the hole in the bottom is assumed to be about 2cm.
Japanese: 深さは30cmから1m、直径は30cmから50cm程度のものを用い底の穴は2cm程度とする。
English: The jar is turned up-side down and fixed onto the ground with clay (or mortar in recent years) to prevent water from leaking into the hole that was dug up.
Japanese: 瓶は地面に掘られた穴に水漏れ防止用の粘土または近年はモルタルで固められた上に伏せられる。
English: The old suikinkutsu adopts a method whereby the water is takes time to flow out naturally, however, because it does not keep a constant tone, a draining tube is installed to keep the water level constant.
Japanese: 古い水琴窟では水が自然に流出するのを待っている方式であったが一定の音色を保てないため、水位を一定に保つ排水用の管を設けるのが一般的となった。
English: Usually, there is only one jar but sometimes there are two: examples include Iwasaki-jo koen (Iwasaki Site of a Castle Park) in Nisshin City, and University of Creation; Art, Music & Social Work, in Takasaki City of Gunma Prefecture.
Japanese: 通常、瓶は一つであるが2個の場合もあり愛知県日進市の岩崎城公園や群馬県高崎市の創造学園大学などに例がある。
English: Nowadays, people do not hold on to tradition and they try to create variations of suikinkutsu.
Japanese: 現代では、伝統にこだわらず、様々なバリエーションの水琴窟の制作が試みられている。
English: The monument called 'The Phoenix water clock' of Kyoto Station Building is an example having all of the above-mentioned variations.
Japanese: 上記のいくつかを兼ね備えた例として京都駅ビルのモニュメント「火の鳥水時計」が挙げられる。
English: Instead of being a suikinkutsu with a wash basin in a Japanese garden, it is a suikinkutsu with a glass clock of water emitting a continuous amplified sound decorated by a sculpture (to be more precise, it is a comic book character) built inside the waiting room of the station building.
Japanese: 手水鉢の代りにガラスの水時計、連続的な音と増幅、彫刻（正確には漫画のキャラクター）で飾られ日本庭園ではない屋内の駅待合所に設置されている。
English: It seems that suikinkutsu was first called Tosuimon (a drain facility of the lavatory) that was not built in a garden, but was a facility for drainage of a lavatory basin when washing hands.
Japanese: 水琴窟は最初は洞水門（とうすいもん）と呼ばれており庭園に設置されるものではなく手洗い場の排水設備であったらしい。
English: Noticing that it sometimes gave a good sound, a gardener improved the device.
Japanese: それが時々いい音を出すことがわかり庭師により改良されるようになった。
English: It is said that it was invented by a famous contemporary master of tea ceremony Enshu KOBORI, who was also a garden designer.
Japanese: そのころの著名な茶人であり庭園作家でもある小堀遠州の発明品という説もある。
English: In the late Edo period, it was once abolished, although it was revived during the Meiji period, and in the early Showa period it was almost forgotten.
Japanese: 江戸後期には一旦廃れ、明治時代再興したものの昭和初期にはほとんど忘れられた存在となった。
English: In a report by professor Hirayama's of Tokyo University of Agriculture in 1959, there were two examples cited, but most were buried in the ground and this was a difficult situation for restoration.
Japanese: 1959年の東京農業大学の平山教授の報告書では二つの例が報告されていたがほとんど地面に埋もれ修復も困難な状況であった。
English: However, an article in 1982 appeared in the Asahi Shinbun Newspaper that led to the rediscovery of a lot of different types of suikinkutsu.
Japanese: しかし朝日新聞による1982年の報道が多くの水琴窟の再発見へつながった。
English: The following report produced by Japan Broadcasting Corporation, later brought about public attention again.
Japanese: このあとの日本放送協会により取り上げられ再び注目されるようになった。
English: Comparatively speaking, because a suikinkutsu has smaller volume and better sound quality, it was quite commonly installed in private houses.
Japanese: しかし、これに比べ水琴窟は音量が小さく音色もよいことから個人の住宅でも設置される例が少なくない。
English: When one washes one's hands, the majority of water goes along on the edge of small stones or the jar, it flows, and then leaves; this is the water flowing sound, in harmony with the water dropping sound inside.
Japanese: 手を洗っているとき大部分の水は小石や瓶の縁をつたって流れ去るがこれが流水音であり、内側の水滴音とハーモニーする。
English: A well designed suikinkutsu has water dripping and dropping from multiple positions of the jar.
Japanese: よくできた水琴窟は瓶の複数の場所から水が滴り落ちるようになっている。
English: A good unglazed pottery jar has water dripping and dropping from multiple inside positions where moisture is often maintained.
Japanese: 素焼きの瓶がよいのは湿気をよく保持し内面のより多くの場所から滴下が始まるからである。
English: The sound quality changes in response to various conditions such as the shape and size of the jar, and the moisture condition at the bottom.
Japanese: 音色は瓶の形状や大きさ、さらには底の水の溜まり具合など様々な条件で変化する。
English: Heki school was established by Masatsugu Danjo HEKI, who learned in the ancient Henmi school.
Japanese: 日置流（へきりゅう）とは、古流の逸見流を学んだ日置弾正政次（へきだんじょうまさつぐ）（正次とも）が確立した、和弓の流派の一つである。
English: Masatsugu Danjo HEKI is said to be a person of the Muromachi period (latter half of the 15th century), however, there are various opinions: some say he was god or Buddha' incarnated; some say he was the same person as the first representative of Heki-Yoshida school Shigetaka Kozukenosuke YOSHIDA.
Japanese: 日置弾正正次は室町時代（15世紀後半）の人といわれているが諸説あり、神仏の化身と称されたり、日置吉田流初代・吉田上野介重賢であるとされたり（同一人物説）する。
English: Archery in Japan can be classified mainly into 'Busha/Kachiyumi' (walking archery), developed from bow shooting on foot on the battlefield, 'Kisha' (riding archery), developed from bow shooting while riding horseback, and 'Dosha' (long-range archery), developed from Toshiya (long-range archery) passing through the Sanjusangen-do Temple.
Japanese: 日本の弓道は、主に戦場における徒歩による弓射から発展した「歩射」と、馬上から射る弓射から発展した「騎射」、三十三間堂における通し矢の弓射から発展した「堂射」に分類することが出来る。
English: When it comes to the busha group, it refers to the Heki school system (in this case, it includes walking archery and long-range archery), and when it comes to the reisha group, it refers to the shooting system developed from Ogasawara school's riding archery and walking archery, but gradually implemented with ceremonial elements.
Japanese: 武射系と言えば日置流系統の射を指し（この場合は歩射・堂射が含まれている）、礼射系と言えば、小笠原流騎射・歩射から儀礼・儀式的なものを加味されつつ発展した射の系統を指す。
English: Compared with Ogasawara school with a history of about 900 years, Heki school is new with a history of about 500 years.
Japanese: 900年近く続く小笠原流と比べると日置流の歴史は新しく500年程である。
English: However, for a certain period of time during the Sengoku period (period of Warring States), instead of the declining Ogasawara family, the Heki-Yoshida school group performed the ceremonial shootings in the Imperial Court.
Japanese: ただ、戦国時代の一時期、没落した小笠原家に変わり、日置吉田流一門が宮中で射礼を行った事もある。
English: Pulling the bow in a ceremonial way is generally referred to as 'Reisha' (ceremonial shooting), however, the Heki school called this 'Reisha' of the Ogasawara school 'Taihai' (posture and manner of the martial art) in order to distinguish it.
Japanese: なお、弓の引き方を儀礼的に行うことを一般に「礼射」というが、その際に小笠原流が「礼射」と称するところのものを日置流では「体配（たいはい）」と呼び、区別している。
English: Taihai of the Heki school is characterized by enhanced spirit born from simple gestures resembling those of a samurai.
Japanese: 日置流の体配は、簡略な動作から生まれる武士らしい気合の充実が特徴である。
English: The Ogasawara school originated from shooting while riding and emphasizes chiefly beauty and elegance, on the contrary, the Heki school is practical archery for infantrymen which places emphasis on target accuracy and the penetrating power of an arrow.
Japanese: 小笠原流が騎射を出発点とし、主に見た目の美しさや品位を重視するものであったのに対して、日置流は的中や矢の貫通力に重点を置いた実利的な歩兵用弓術であった。
English: Nowadays, they are both categorized as competitive game 'Archery,' though, there are a small number of archers who thoroughly understand the difference between 'walking archery,' 'riding archery,' and 'long-range archery,' the purposes of which were originally different.
Japanese: 現在では、同じ「弓道」という競技において、本来は目的の異なる別のものである「歩射」「騎射」「堂射」の違いを深く理解している射手は少数となってしまった。
English: Moreover, today, the fence separating the Heki school, the Ogasawara school, and the Dosha group of the Heki school, has lowered.
Japanese: また、今日では日置流や小笠原流、日置流堂射流派の垣根が低くなってきている。
English: However, because the development processes are respectively different, it is hoped that students of archery will pay respect to and understand well the cultural and historical backgrounds of the Heki school (busha group) and the Ogasawara school (reisha group).
Japanese: しかし、発展過程がそれぞれ異なる、日置流（武射系）や小笠原流（礼射系）の文化的・歴史的な背景に敬意を払い、よく理解して弓道を学ぶことが望ましい。
English: For the Heki school, there are a lot of sects, including both the discontinued ones and the existing ones; traditionally, the 'school' has been referring to 'a system of unified styles from a family or master who passed down their teachings,' that is, there may be minor differences caused from discrepancies in interpretation of the teachings, however teaching that forms the foundation of any sect is basically the same.
Japanese: 日置流には、途切れたものや現存するものを含めると多くの派が存在するが、古来の「派」の位置付けは「教えを受けた～家・～師匠の流れを組むもの」程度の意味合いであったと考えられ、伝承してきた教えの解釈等の違いから生ずる小さな違いはあるが、根幹となる教えはどの派でも同一である。
English: In many cases of Ogasawara school, there are facing postures for shooting at a distance, that is, the so-called 'Shomen-uchiokoshi' (anchoring in front facing posture) is taught; on the contrary, the Heki school teaches 'Shamen-uchiokoshi' (anchoring in a slanted position).
Japanese: 小笠原流が多くの場合、射の行程における打起しと呼ばれる動作において身体の正面で構える形、いわゆる「正面打起し」をとるのに対し、日置流では「斜面打起し」をとる。
English: Heki school teaches the shooting method of 'Shamen-uchiokoshi' (anchoring in a slanted position) because it has peculiar teaching about how to grip the bow, also the purpose is to increase the chance of hitting the target and the penetrating rate when the arrow is shot.
Japanese: 日置流が斜面打ち起こしの射法であるのは、弓の握り方に独特の教えがあるからであり、矢を放つ際に的中率・貫通率を高める事等を目的としている為である。
English: For instance, in the Insai school, the way to grip the bow is called 'Momiji-gasane;' a method of gripping the bow with the left hand secretly handed down from the old days.
Japanese: 例えば、印西派ではこの握り方を「紅葉重（もみじがさ）ね」といい、古来から秘伝とされた。