nntsuzu/KFTT huggingface dataset:
English: In addition, the ungen saishiki (an art technique that thin bands with distinct colors are placed next to each other in order to give the impression of shading) is used to depict wearings and so on.
Japanese: また、衣などに繧繝彩色（うんげんさいしき、色彩の濃淡を細い色帯を並べて表す技法）が用いられている。
English: A Tessenbyo (wire-line drawing), a stable line without being thick or thin, is used for re-outlining.
Japanese: 書き起こしの線は鉄線描と呼ばれる、肥痩のない力強い線で描かれている。
English: The murals of Horyu-ji Temple is sometimes said to resemble those of Ajanta Caves in India, however, the stylistic characters mentioned above are seen in the paintings in early Tang Dynasty in China (618 to 712), such as Mogao Cave in Dunhuang.
Japanese: 法隆寺壁画についてインドのアジャンター石窟群との類似が説かれることもあるが、上述のような様式的特徴は敦煌莫高窟などの初唐絵画にみられるものである。
English: It is unknown who painted the murals; however, it is estimated as collaboration among several painters since the painting style varies from wall to wall.
Japanese: 作者については明らかでないが、壁面によって作風の違いがみられることから、数人の共同制作と推定されている。
English: It is estimated that the Kondo had been built by 693 when Ninno-e (a Buddhist ceremony of lecturing Ninnogyo [the Sutra of Benevolent Kings] to keep the nation tranquil) was held at Horyu-ji Temple.
Japanese: 金堂は、法隆寺で仁王会が行われた持統天皇7年（693年）までには建立されていたと推定されている。
English: "Horyu-ji Shizai Cho" (note of materials [assets] of Horyu-ji Temple) in 747 doesn't have any description about the murals of the Kondo.
Japanese: 天平19年（747年）の『法隆寺資財帳』には壁画についての記載がみられない。
English: However, it is thought that this doesn't indicate the nonexistence of the murals at that time, but the murals were not considered as 'assets' because they were identified as integral parts to the buildings of the Kondo.
Japanese: しかしこれは当時壁画が存在しなかったということではなく、壁画は金堂の建物と一体のものとして「資財」とはみなされていなかったものと推定されている。
English: The oldest document which mentioned the murals were "Shichidaiji Nikki" (The Diary of Seven Great Temples), written by Chikamichi OE in around 1106.
Japanese: 壁画について言及した最古の文献は、嘉承元年（1106年）頃大江親通が著した『七大寺日記』である。
English: In his book, Chikamichi OE wrote that the murals were painted by 'Kuratsukuri no tori,' that is, Tori Busshi who produced the principal image of the Kondo of Horyu-ji Temple.
Japanese: ここで大江親通は壁画を「鞍作鳥」すなわち、法隆寺金堂本尊の作者である止利仏師の筆としてある。
English: In the Kamakura period, "Shotoku Taishi denshiki" (the Private Recollections on the Life of Prince Shotoku) written by Kenshin, the priest of the Horyu-ji Temple, describes Kuratsukuri no tori as the painter of the murals.
Japanese: 鎌倉時代、法隆寺の僧・顕真が著した『聖徳太子伝私記』も壁画の筆者を鞍作鳥としている。
English: In the Meiji period, the murals were gradually recognized their artistic value and preciousness to be reproduced by a painter Koun SAKURAI around 1887 (The reproductions are owned by Tokyo National Museum).
Japanese: 明治時代になって壁画の貴重さや芸術的価値が徐々に認められるようになり、1887年（明治20年）頃には桜井香雲という画家が壁画の模写を行っている（模写は東京国立博物館蔵）。
English: A painter, Kunyo SUZUKI, also reproduced the murals from 1907 to around 1931 (The reproductions are in the private collection).
Japanese: また、1907年（明治40年）から1931年（昭和6年）頃にかけて鈴木空如という画家も模写を行っている（模写は個人蔵）。
English: In 1897 when The Law for Ancient Temples and Shrines Preservation (the prior law to establish The Law for the Protection of Cultural Properties) was proclaimed, it was considered to preserve the mural wall paintings by covering with glass, but that never happened.
Japanese: 古社寺保存法（文化財保護法の前身にあたる旧法）が公布された1897年（明治30年）には壁画をガラスで覆って保護することが検討されたが実現はしなかった。
English: In 1915, Horyuji hekiga hozonhoho chosaiinkai (Investigative Committee of Conservation Techniques for Mural Paintings of Horyu-ji Temple) was established within the Ministry of Education.
Japanese: 1915年（大正4年）には文部省に法隆寺壁画保存方法調査委員会が設置された。
English: It was established by a proposal of the Tenshin OKAKURA, who died two years earlier.
Japanese: これはその2年前に死去した岡倉天心の発案によって設置されたものであった。
English: Four years later, in 1919, the committee was dissolved after reporting about the scientific techniques for the preservation of the murals.
Japanese: この委員会は4年後の1919年（大正8年）に科学的保存方法についての報告を出した後、解散。
English: The scientific techniques for the preservation of the murals were examined in a part of the walls, however, weren't practically applied.
Japanese: 壁画の科学的保存処置については、一部の壁で試験が行われたのみで具体的には進展しなかった。
English: Meanwhile, curtains were installed for the mural protection in 1917, and the murals were opened to the public only for a fixed viewing period in the spring and fall from the following year.
Japanese: この間、1917年（大正6年）には壁画を保護するためのカーテンが設置され、翌年から壁画は春秋の一定期間のみ公開することになった。
English: In 1934, Horyuji kokuho hozonjigyobu (National treasure in Horyu-ji Temple Preservation Division) was established in the Ministry of Education and Japanese government led 'Showa Daishuri' (major repair in the Showa period) project of the buildings of the Horyu-ji Temple.
Japanese: 1934年（昭和9年）には文部省に法隆寺国宝保存事業部が設置され、法隆寺伽藍のいわゆる「昭和大修理」が国の主導で進められることとなった。
English: In 1939, the Horyuji hekiga hozon chosaiinkai (Investigative Committee of Conservation Techniques for Mural Paintings of Horyu-ji Temple) was newly established in the Ministry of Education, and the experts in the art, history, and natural science were joined to discuss about strategy for prevention of further deterioration and the conservation of the murals.
Japanese: 1939年（昭和14年）には文部省にあらためて法隆寺壁画保存調査会が設置され、美術や歴史の専門家のほか、自然科学の専門家も参加して壁画の劣化防止と保存の対策が検討された。
English: It was discussed whether to store the murals in the Kondo as before or to remove and replace them in different place, however, the latter was opposed by the Horyu-ji Temple side for religious reason and so the decision could not be easily reached.
Japanese: 壁画を従来どおり金堂内で保存する方法と、取り外して別途保存する方法とが検討されたが、壁画の取り外しについては寺側が信仰上の理由から反対し、結論はなかなか出なかった。
English: Meanwhile it was known that Benrido, an Art book publisher in Kyoto, had taken full-scale (exact sized) photographs of the murals in 1935.
Japanese: この間、1935年（昭和10年）には京都の美術書出版社である便利堂が壁画の原寸大写真を撮影した。
English: After the original murals were damaged by the fire, these full-scale photographs became important materials.
Japanese: オリジナルの壁画が焼損した今では、この写真が貴重な資料となっている。
English: Benrido took photographs of monochrome in full-scale size which were divided the murals into several parts, those of infrared, and those of color separation.
Japanese: 便利堂では、壁画を数十枚の部分に分けて撮影した原寸大モノクロ写真のほか、赤外線写真や色分解写真も撮影している。
English: Because color film was not well circulated in Japan during this period, Benrido needed to use filters in a four color separation process, to create the photographs.
Japanese: 当時の日本ではカラーフィルムが普及していなかったため、フィルターを用いた4色分解によるカラー写真が撮影された。
English: Benrido produced their printed copies of the murals through the use of collotype printing in 1938.
Japanese: 便利堂は1938年（昭和13年）にはコロタイプ印刷による壁画の複製を製作している。
English: Separated from the examination of the scientific preservation method, the murals were planned to be reproduced in their present condition and the four top ranking Japanese art painters at that time were assigned to.
Japanese: 科学的保存方法の検討とは別に、壁画の現状模写を制作することになり、当時の代表的な日本画家4名が分担された。
English: However, the reproduction was interrupted in 1942 when Japan had entered into a wartime regime.
Japanese: しかし、日本が戦時体制に入る中、1942年（昭和17年）頃に模写事業は中断した。
English: This disassembling was not only to repair, but also to evacuate the art works and the precious buildings by disassembled into some components, from the damage by the war.
Japanese: この解体は修理のためでもあったが、戦火を避けるために美術品だけでなく、建造物も貴重なものは解体して部材を疎開させようという意味もあった。
English: The materials for the upper layer of the Kondo were disassembled and in the phase that the ceiling boards between the first and upper layers were removed, it greeted the end of the war.
Japanese: 金堂は上層部分の部材が解体され、初層と上層の間の天井板まではずされた段階で終戦を迎えた。
English: According to the Tokyo Nichinichi Newspaper and Hochi Shinbun (newspaper) on that day, when the chief priest, Join SAEKI, held a morning devotional exercises at around 5:00 a.m., everything was as usual, but a fire broke out at around 7:20 a.m., then was put out at around 9:00 a.m.
Japanese: 当日の東京日日新聞および報知新聞の報道によれば、午前5時頃に住職の佐伯定胤が朝の勤行を行った際には異状がなかったが、午前7時20分頃に出火し、午前9時前後に鎮火。
English: Officially, the fire was started from the electronic heating pad used by reproducing painters, however, there were some opinions that the fire origin was an electric generator for the fluorescent lamps used in reproducing or that it was fired on purpose, and so on, and the truth is unknown.
Japanese: 原因については、公式には壁画模写の画家が使っていた電気座布団から出火したとされているが、模写に使用した蛍光灯用の電熱器が火元とする説、放火説などがあり真相は不明である。
English: At the time of the fire, the Kondo was half disassembled as previously mentioned, materials of the upper layer and mokoshi above the ceiling had been already disassembled to be spared from the fire.
Japanese: 出火当時、金堂は前述のように半解体されており、天井より上の上層部分と裳階部分の部材は解体済みだったため難をまぬがれた。
English: In addition, Shaka Sanzon zo (the statues of Shakyamuni triads) and other Buddha statues of the Kondo were safe, because they were moved into the Daikodo (Great Lecture Hall), Daihozoden (Treasure House), and so on.
Japanese: また、内部に安置されていた釈迦三尊像等の仏像も大講堂、大宝蔵殿等に移座されていたため無事だった。
English: However, the murals were severely scorched and the pillars, kashira-nuki (head rail), and kumihimo (guilloche) of the first layer were burnt black.
Japanese: が、壁画は蒸し焼きになり、初層の柱、頭貫、組物なども黒こげになってしまった。
English: Additionally, although the murals of the Kondo of Horyu-ji Temple are often said as 'lost by fire,' the charred murals do exist today as following mentioned and it is appropriated to express them as 'damaged by fire.'
Japanese: なお、法隆寺金堂壁画についてはしばしば「焼失した」と表現されているが、後述のように、オリジナルの壁画は黒こげになったとはいえ現存しているので、「焼損した」とするのが妥当である。
English: Then, the murals were reassembled from October 1954 to March of the following to be stored in the repository, built on the east side of the Jikido (dining hall) in the Horyu-ji Temple.
Japanese: 1954年（昭和29年）10月から翌年3月にかけて再組み立てされ、寺内の食堂（じきどう）東側に建設された収蔵庫に収められた。
English: In this repository the burned murals, pillars, and other materials have been arranged in their former manner, but they are not open to the public for reasons of the preservations.
Japanese: この収蔵庫には焼け焦げた壁画と柱などの部材が従前の配置のままに置かれているが、保存上の理由から一般には公開されていない。
English: The Kondo was rebuilt by reusing the materials which escaped the fire in the disassembling or replacing those of the fire damaged first layer axis into new materials.
Japanese: 金堂は、解体中で難をまぬがれた部材は再用し、焼損した初層軸部の部材は新材で復元した。
English: The murals after the fire were lost most of the colors and their outlines left barely visible in the manner of a negative film image.
Japanese: 火災後の壁画は、色彩がほとんど失われ、輪郭線がかろうじて残ってネガフィルムのような状態になっている。
English: Among the painting pigments, only Bengal red remains without chemical reaction after the fire, therefore, the outlines in Bengal red are existed.
Japanese: 使用された絵具のうち、弁柄のみは火災後も化学変化を起こさずに残存しており、輪郭線も弁柄で描き起こされていたため残っている。
English: Of the murals, the No. 1 Taiheki, No. 10 Taiheki and others relatively remain their design after the fire damage, and the design and the patterns of the clothes, and so on, in the No. 12 Juichimen Kannon zo remains vividly.
Japanese: 壁画のうち、1号大壁、10号大壁などは焼損後も比較的図様が残っており、12号壁の十一面観音像は全体の図様や衣の文様なども鮮明に残っている。
English: On the other hand, the wall No. 6, Amida Jodozu, which was considered as the master piece among the murals, has been severely damaged.
Japanese: 一方、壁画中の最高傑作といわれた6号壁の阿弥陀浄土図は甚大な被害を受けている。
English: In the place where the face of the Amida Nyorai, the middle Buddha image, used to be painted, a hole was drilled to let a fire hose go through so that the mural of this part was completely lost.
Japanese: 中尊の阿弥陀如来像の顔のあった部分には消火ホースを通すための穴が開き、この部分の図様は完全に失われている。
English: The attendant image (Kannon Bosatsu) to the observers' right was a well-known image, which became the design for a World Cultural and Natural Heritage stamp, but the pigments comprising its face were almost lost.
Japanese: 向かって右の脇侍像（観音菩薩）は、世界文化遺産切手の図案にもなった著名なものだったが、顔の部分の絵具はほとんど失われている。
English: Although, these fire damaged murals have been usually never opened to public, in commemoration of registering Horyu-ji Temple as World Heritage, they were shown to only those selected in a lottery from November 1 thorough 23, 1994.
Japanese: これらの焼損壁画は通常は一切公開されていないが、法隆寺の世界遺産登録を記念し、1994年（平成6年）11月1日から11月23日にかけて、抽選で当選した人にのみ特別公開された。
English: In addition, in late July in each year, they are opened to the participants of Summer University program at Horyu-ji Temple, as a special visit to the Horyu-ji Temple.
Japanese: また毎年7月下旬に行われる法隆寺夏季大学の参加者には特別伽藍見学として公開されている。
English: The fire damaged murals and the survived Hiten painting on a Shoheki of the naijin were designated as important cultural properties as 'Kondo gejin kyu hekiga or tsuchikabe juni men' (12 old mural paintings [mud wall] of the gejin in the Kondo) and 'Kondo naijin kyu hekiga or tsuchikabe niju men' (20 old mural paintings [mud wall] of the naijin in the Kondo) respectively on February 8, 1958.
Japanese: 焼損した壁画と焼け残った内陣小壁の飛天図とは1958年（昭和33年）2月8日、「金堂外陣旧壁画（土壁）12面」「金堂内陣旧壁画（土壁）20面」として重要文化財に指定されている。
English: The following four painters handled the mural reproduction started in 1940, with some assistants respectively.
Japanese: 1940年（昭和15年）から始まった壁画の模写は、以下の4名の画家がそれぞれ数名の助手を率いて担当した。
English: Hashimoto group: Meiji HASHIMOTO (1904 - 1991), the walls No. 9 and No. 11 (both were incomplete).
Japanese: 橋本班-橋本明治（1904-1991）9号壁（未完成）、11号壁（未完成）
English: Although two of those four, Hirokata ARAI and Hako IRIE, were not very famous painters of that period, they were assigned the important roles by the recommendation of Seiichi TAKI, an art historian.
Japanese: 4名のうち、荒井寛方（あらいひろかた）と入江波光（いりえはこう）の2名は当時においてもさほど高名な画家ではなかったが、美術史家瀧精一の推挙で大役を任されたものである。
English: Irie was a member of the Kokuga Sosaku Kyokai (National Creative Painting Association) founded by Bakusen TSUCHIDA and Kagaku MURAKAMI, and others in the Taisho period.
Japanese: 入江は大正時代に土田麦僊、村上華岳らが創設した国画創作協会のメンバーであった。
English: However, he deeply involved in the reproduction of ancient paintings after the Japanese painting department in the Kokuga Sosaku Kyokai was dissolved in 1928.
Japanese: が、1928年（昭和3年）に同協会の日本画部が解散してからはもっぱら古画の模写に没頭した。
English: Each group of Arai, Irie, Nakamura and Hashimoto handled one Taiheki and two Shoheki, and the four Taiheki, No. 1, No. 6, No. 9 and No. 10 were assigned by lottery.
Japanese: 荒井、入江、中村、橋本の各班はそれぞれ大壁1面、小壁2面ずつを受け持つことになり、1号、6号、9号、10号の4つの大壁をどの班が受け持つかは抽選で決めた。
English: Four of the eight Shoheki, No. 2, No. 5, No. 8 and No. 11, were assigned to the groups, however, the rest of four Shoheki were not assigned to any groups and never worked.
Japanese: 8面ある小壁については、2、5、8、11号の4面はそれぞれ担当が決まったが、残りの4面はどの班が担当するか未定のままで、結局着手されなかった。
English: Also among the walls started reproduction, No. 9 and No. 11 walls attended to by the Hashimoto group and the No. 1 wall by the Nakamura group were not completed.
Japanese: 着手された模写についても、橋本班担当の9、11号壁、中村班担当の1号壁などは未完成に終わっている。
English: There was a dispute in those days inside the Horyuji hekiga hozon chosakai (Investigative Committee of Conservation for Mural Paintings of Horyu-ji Temple) on whether to execute the copying in the manner of Japanese traditional painting or Western painting.
Japanese: 当時、模写を日本画と洋画のいずれで行うかについて壁画保存調査会で論争があった。
English: Eisaku WADA (1874 - 1959), an artist in the Western painting, insisted that 'the colors for the mural paintings could only be reproduced with a western painting method.'
Japanese: 洋画家の和田英作（1874-1959）は「法隆寺壁画の色彩は洋画でなければ出せない」と主張した。
English: In opposition, Yukihiko YASUDA and other artists of Japanese traditional painting protested 'the lines of the murals could only be drawn within a Japanese traditional painting method.'
Japanese: それに対し、安田靫彦らの日本画家たちは「あの線は日本画でなければ描けない」と主張した。
English: Subsequently, the reproduction was performed in the Japanese traditional painting method; Eisaku WADA individually started to reproduce the mural in a western oil tradition.
Japanese: 結局、模写は日本画で行うことになったが、それとは別に和田英作は個人として油絵での模写を行うことになった。
English: In the reproduction started from 1940, fluorescent lamp, which was the latest illumination at the time and only for military purposes in Japan, was used for lighting in the Kondo.
Japanese: 模写は1940年（昭和15年）から始まり、金堂内では、当時日本では軍事用以外には使われていなかった最新機器である蛍光灯が照明として使われた。
English: In the reproduction method, the full sized photograph taken by Benrido was collotyped lightly on washi (traditional Japanese paper) to be colored.
Japanese: 模写方法は、便利堂が撮影した原寸大写真を和紙に薄くコロタイプ印刷したものに彩色をしていく方法であった。
English: Among the four groups, only Irie group worked on the traditional method of reproduction called 'Ageutsushiho method' consistently, not employing the method.
Japanese: ただし、4班のうちで入江班だけはこの方法を取らず、「上げ写し法」と呼ばれる伝統的な模写技法をかたくなに守って制作した。
English: In the Ageutsushiho method, after thin sheet of washi is placed on an original old painting or photograph to examine the transparent lines well, a painter draws the line by lifting the washi while watching the original.
Japanese: 上げ写し法とは、古画の原本や写真版の上に薄い和紙を重ね、透けて見える線をよく観察した後、和紙を持ち上げ、原画を見ながら線を引くというものである。
English: The washi used for this reproduction was 'Jingushi,' which was specially made in Kochi Prefecture for the painting of the life of Emperor Meiji to be exhibited at Seitoku Kinen Kaigakan (Meiji Memorial Picture Gallery) in the outer garden of the Meiji-jingu Shrine.
Japanese: この時用いられた和紙は「神宮紙」というもので、明治神宮外苑の聖徳記念絵画館に飾られる明治天皇の生涯を描いた絵画制作のため高知県で特別に漉いた紙であった。
English: Irie from Kyoto, and the other three artists from Kanto, seemed to have disputes over not only the reproducing method, but many other issues.
Japanese: 京都出身の入江と、関東から来た他の3名との間には、模写方法の違いだけでなく、何かと対立があったという。
English: The reproduction was not only tough and lumbering task in the narrow scaffoldings in the cramped Kondo but also was extremely low-paid.
Japanese: 模写作業は狭い金堂の中の狭い足場の上で行われる困難な作業で、なかなか進捗しない上に、手当もきわめて安かった。
English: Then, the reproduction was interpreted in the military-charged period around 1942.
Japanese: そして、戦時色が濃くなった1942年（昭和17年）頃には模写作業は中断されてしまった。
English: The reproduction was reorganized after the war, but Arai and Irie died in 1945 and 1948 respectively and the news of the fire damaged murals was not reported.
Japanese: 模写は戦後に再開されるが、荒井、入江の両名はそれぞれ1945年、1948年に他界しており、壁画焼損のニュースも知ることはなかった。
English: In addition, Yoshio YOSHIDA, who became popular as an actor playing the antagonist, was among the assistants of the Irie group.
Japanese: なお、入江班の助手の中には、後に悪役俳優として著名になる吉田義夫がいた。
English: As previously described, the Kondo of Horyu-ji Temple, which partly burnt, was restored after the repair by disassembling in 1954, but the walls which once had murals were left blank.
Japanese: 前述のとおり、一部部材を焼損した法隆寺金堂は1954年（昭和29年）に解体修理を終えて復旧したが、壁画の描かれていた壁は空白のままであった。
English: Later in 1967, by the request of the Horyu-ji Temple and backup of the Asahi Shinbun (newspaper) Company, another reproduction of the murals to install onto the blank walls was arranged.
Japanese: その後1967年（昭和42年）に至って、法隆寺の発願、朝日新聞社の後援であらためて模写壁画を制作して壁にはめ込むことになった。
English: Yasuda group: Yukihiko YASUDA (1884 - 1978), Koji HANEISHI, Eien IWAHASHI, and Yoshihiko YOSHIDA; the walls No. 2, No. 4 and No. 6.
Japanese: 安田班-安田靫彦（1884-1978）、羽石光志、岩橋英遠、吉田善彦-2、4、6号壁
English: Maeda group: Seison MAEDA (1885 - 1977), Chihiro KONDO, Tadashi MORIYA, and Ikuo HIRAYAMA; the walls No. 3, No. 10, and No. 12.
Japanese: 前田班-前田青邨（1885-1977）、近藤千尋、守屋多々志、平山郁夫-3、10、12号壁
English: Hashimoto group: Meiji HASHIMOTO (1904 - 1991), Seiji NOJIMA, and Chusaku OYAMA; the walls No. 8, No. 9, and No. 11.
Japanese: 橋本班-橋本明治（1904-1991）、野島青茲、大山忠作-8、9、11号壁
English: Yoshioka group: Kenji YOSHIOKA (1906 - 1990), Kazuho HIEDA, and Takashi ASADA; the walls No. 1, No. 5, and No. 7.
Japanese: 吉岡班-吉岡堅二（1906-1990）、稗田一穂、麻田鷹司-1、5、7号壁
English: Unlike the previous reproduction since 1940, this reproduction was worked in artist's own studios, not the site of the Horyu-ji Temple.
Japanese: 1940年から始まった前回の模写の時と違い、今回は法隆寺の現場ではなく、各自のアトリエで制作が行われた。
English: The technique used in this reproduction was to color the washi collotyped the full-scale photographs.
Japanese: 技法は、和紙に原寸大写真をコロタイプ印刷したものに彩色していくものである。
English: Normal sized washi were jointed in a seamless manner by a special technique called 'Kuisaki' (a method to make a larger paper with small papers, through the use of wetted papers; the tearing by hand, not using cutlery, creating rougher edges in joining several papers) to be the large screen of approximately 3.1 meters in height.
Japanese: 普通の大きさの和紙を「喰い裂き」と呼ばれる技法で、見た目には継ぎ目がわからないようにして繋ぎ、縦約3.1メートルの巨大な画面を作った。
English: In this reproduction, not only Meiji HASHINOTO, but also some assistant painters as Yoshioka, Yoshida, Kondo, Nojima, and Oyama continuously participated since the previous reproduction.
Japanese: 今回の模写には橋本明治が引き続き参加したほか、吉岡、吉田、近藤、野島、大山も前回の模写に助手として参加していた画家である。
English: This mural reproduction started from 1967, and was completed in a short time, less than one year.
Japanese: この再現壁画は1967年から制作を開始し、1年足らずの短期間で完成。
English: Then, the replicas of the murals were fitted in panels before being installed onto the walls of the Kondo in February 1968, the following year.
Japanese: 翌1968年（昭和43年2月）にパネルにはめ込んだ上で金堂の壁に設置された。
English: In November of the same year, a Kaigen-hoyo (literally, eye-opening ceremony; Buddhist ceremony when the construction of a temple is completed) was held and the inside of the Kondo of the Horyu-ji Temple was restored to the pre-fire condition.
Japanese: 同年11月に開眼法要が営まれ、法隆寺金堂内部はようやく火災前の姿に戻った。
English: At the Horyu-ji Temple on each January 26 (the memorial day of the fire in the Kondo), 'Kondo hekiga shoson jishuku hoyo' (Buddhist memorial service in self-discipline for the burnout of wall paintings within the main temple structure) is held at the Kondo and the repository, and a fire drill is carried out afterwards.
Japanese: 法隆寺では、毎年1月26日（金堂火災の起きた日）、金堂と収蔵庫にて「金堂壁画焼損自粛法要」が営まれ、その後防火訓練が行われている。
English: The expression "Official introduction of Buddhism" refers to the introduction of Buddhism through official negotiation between nations.
Japanese: 仏教公伝（ぶっきょうこうでん）とは、国家間の公的な交渉として仏教が伝えられることをいう。
English: In Japan, it generally refers to the official introduction of Buddhism from Baekje to Wa (ancient Japan) in the era of the Emperor Kinmei which was in the middle of the sixth century.
Japanese: 日本においては6世紀半ばの欽明天皇期、百済から倭（古代日本）への仏教公伝のことを指すのが一般的である。
English: Although it is sometimes called simply 'introduction of Buddhism,' the expression 'official introduction' is often used because it had been already introduced as a private belief before the official introduction as mentioned below.
Japanese: 単に仏教伝来と呼ぶこともあるが、後述のごとく公伝以前に、すでに私的な信仰としては伝来していたと考えられるため、「公伝」と称されることが多い。
English: Buddhism, which began in northern India as a world religion, is mainly categorized into Theravada Buddhism (Nanden bukkyo [Buddhism that spread from India to Sri Lanka and Southeast Asian countries such as Myanmar, Thailand, Laos, and Cambodia]) which spread in southeast Asia (Khmer Dynasty, Sriwijaya Kingdom), and Mahayana Buddhism (Hokuden bukkyo [Buddhism that spread from India to northern Asia]) which spread to China, the Korean peninsula, and other regions through the western regions of China (Central Asia).
Japanese: 北インドの地で生まれた世界宗教としての仏教は、主として東南アジア方面（クメール王朝、シュリーヴィジャヤ王国）に伝播した上座部仏教（南伝仏教）と、西域（中央アジア）を経由して中国から朝鮮半島などへ広がった大乗仏教（北伝仏教）に分かれる。
English: The Buddhism which was introduced to China around the first century A.D. developed independently in the aspects of religious precept and interpretation of dharma without regard to a literal succession of original Buddhism.
Japanese: 中国において紀元1世紀頃に伝えられた仏教は、原始仏教の忠実な継承にこだわることなく、戒律や教義解釈などで独自の発展を遂げた。
English: Especially, the fulfilling Chinese Buddhist scriptures translated by Kumaraju in the fourth century gave a great impact on the spread of Hokuden bukkyo in the surrounding countries where kanji (Chinese characters) was used as common international writing.
Japanese: 特に4世紀における鳩摩羅什（クマーラジーヴァ）の翻訳による漢訳仏典の充実は、漢字を共通の国際文字として使用する周辺諸国への北伝仏教の拡大に大きな影響を及ぼすこととなった。
English: In the period of the Northern and Southern Dynasties (China), keigaku (study of Keisho in Confucianism) such as the Sanron sect and the Jojitsu sect became popular, and such stream was further transmitted to east.
Japanese: 南北朝時代(中国)には三論宗・成実宗などの経学が流行し、これらの流れがさらに東へ伝播していく。
English: There appeared emperors who eagerly worked for the spread of Buddhism, such as the Emperor Kobun in the Northern Wei Dynasty and Sho En in the Liang (Southern Dynasty) who was called 'the Emperor Bosatsu' (Bodhisattva), which accelerated the spread in the surrounding countries.
Japanese: 北魏の孝文帝や「皇帝菩薩」と称された梁(南朝)の蕭衍など、仏教拡大に熱心な皇帝も現れ、周辺諸国への普及も加速した。
English: In the Korean peninsula, which was split into three countries in ancient times, official introduction of Buddhism was implemented separately in the respective countries.
Japanese: 古代、三国時代(朝鮮半島)に分かれていた朝鮮半島においては、それぞれ各個に仏教が公伝された。