nntsuzu/KFTT huggingface dataset:
English: Instead of chataku, a saucer in same pattern as the teacup is used for European style drinks like a cup of black tea or coffee.
Japanese: 紅茶、コーヒーなどヨーロッパ式の茶を飲む道具では、茶托の代わりにカップと同柄のソーサーが使われる。
English: Chataku is also called in various names such as 'takushi,' 'chadai,' 'chatakushi' and 'nokei,' depending on schools.
Japanese: 流派によっては「托子」「茶台」「茶托子」「納敬（のうけい）」などと呼ばれる。
English: It is believed that there was no utensil equivalent for chataku in Japanese Senchado, which originate in Senchaho (method of green tea) introduced from Ming Dynasty.
Japanese: 明から伝来した煎茶法を起源とする日本の煎茶道では、元々茶托に当たる物はなかったと考えられている。
English: The presumed manner is that tea bowls were all put on a tray and each guest takes a tea bowl from the tray.
Japanese: 茶碗はすべて盆にのせられ、客は銘々茶碗をとって飲用するという作法だったと推測されている。
English: It is believed that a sakazuki-dai stand was transferred to chataku in Japanese Senchaho, together with sakazuki to tea bowl.
Japanese: 日本の煎茶法でこの杯を茶碗に転用する際に、杯台が茶托に転じた物と考えられる。
English: Majority of imported sakazuki-dai was made by tin, therefore tin chataku is considered the finest in Japanese Senchado until today.
Japanese: 輸入杯台は錫製が大半であり、結果、日本の煎茶道では現在に至るまで錫製の茶托を最上とするようになった。
English: Proper use of wooden chataku is for larger tea bowls, which is used for casual tea such as Bancha (coarse tea).
Japanese: 木製の茶碗は番茶など普段用の茶を入れる大きめの茶碗に合わせるのが正当とされる。
English: However, many wooden chataku, such as with wajima-nuri lacquerware and Kamakura-bori (articles chiseled in hardwood and repeatedly lacquered in black and vermilion) are priced far more higher than tin chataku.
Japanese: 最も、木製の茶托でも輪島塗や鎌倉彫など錫製の茶托より遙かに高価な物も少なくない。
English: As for tin chataku, the older and blackened is valued higher in Senchado.
Japanese: 錫製の茶托については、煎茶道では年代を経て黒ずんでいる物の方が価値が高いとされる。
English: Chinese tin chataku with inscriptions, such as '張星栄造' (Choseieizo), '肖天泰' (Shotentai) and '乾茂号造' (Kanmogozo), and Japanese tin chataku created by Zoroku HATA, are traded with high price.
Japanese: 中国製では「張星栄造」「肖天泰」「乾茂号造」などの銘が入っている物、国産では泰造六作成の物は高価で取り引きされている。
English: The manner varies with the schools; a school recommends lying tea bowl upside down on to chataku after finish drinking tea, while other strictly forbids doing so as tea staining will stain chataku.
Japanese: 煎茶道の流派により様々だが、茶を飲み終わった後は茶碗を茶托に伏せるのを推奨する流派と、茶托に茶渋が付くとして厳禁する流派がある。
English: In China, a custom of tea drinking started in the Tang period and is believed that there was a utensil equivalent to chataku, so drinker do not need to hold tea bowl containing boiling water.
Japanese: 唐時代に喫茶の風習が始まった中国では、熱湯を入れた茶碗を直接持たなくてもいいように茶托にあたる物があったとされる。
English: However the utensil had disappeared due to change in the way of having tea in later period, and is restored by art of tea in recent years.
Japanese: しかし茶の飲用方の変化によりその後廃絶、近年の茶芸によって復活した。
English: There are some forms in chataku, such as round shaped chataku only for placing chahai (drinking cup for tea), and oval or rectangular shaped for placing chahai and monkohai (drinking cup for tea especially for enjoying tea scent before drinking).
Japanese: 形式には、茶杯だけをのせる円形の物、茶杯と聞香杯をのせられる長方形・楕円形の物がある。
English: Chataku for Sencha often have a concavity matched to kodai (the base section of a teacup) of tea bowl, but majority of chataku for Chinese tea has a simple shape of small plate or tray.
Japanese: 煎茶の茶托は茶碗の高台に合わせた円形のくぼみが付いていることが多いが、中国茶の茶托は単なる小さい皿か盆のような形状をしている物が多い。
English: Originally ryoro was a portable water heater developed in China to use fire out door for Nodate (open-air tea ceremony).
Japanese: 元々は中国で茶の野点用に野外で火をおこすために考えられた携帯湯沸かし器である。
English: The fact that ryoro was a foreign goods and simplicity of bisque (fired pottery) moved literati's heart and became prized.
Japanese: 舶来物であること、素焼きという素朴さが文人達の心を捕らえて、珍重されるようになった。
English: Thereafter, ryoro with elaborated design started to be manufactured in China in the middle of the Qing period.
Japanese: その後、清時代中期には中国本土でも凝った作りのものが生産されるようになった。
English: The Ming period: 'Indo-seifu,' 'yomei-gori,' and 'Obai-tei;' Ryoro from this time period is hardly remaining.
Japanese: 明時代：「引動清風」「楊名合利」「翁梅亭」　※この時代の物はほとんど残っていない
English: Edo period: 'Fujinro,' 'Enka-yusho,' and 'Shimoro' made by Mokubei AOKI, and 'Kimen-hakudei-ryoro' made by Dohachi NINNAMI.
Japanese: 江戸時代：「風神炉」「煙霞幽賞」「子母炉」（以上、青木木米作）、「鬼面白泥涼炉」（以上、仁阿弥道八作）
English: There is a hole to supply wind called 'fumon' (wind's gate) at the front, and at the top section there is 'hibukuro' (burning place of toro), a hole to put charcoal in and place bofura (ceramic kettle).
Japanese: 正面に風を送り込むための穴「風門」、上部に炭を入れ、ボーフラを載せる穴「火袋」がある。
English: As ryoro is a utensil used with flame to boil water, it is mostly a bisque, which can withstand high temperature.
Japanese: 火をつけ、湯を沸かす為の道具なので、高温に耐えられる素焼き製の物がほとんどである。
English: Recent years, ceramic ryoro with various decorations have also been produced, but many have a bisque part for hibukuro where fire is stoked.
Japanese: 近年装飾性に富んだ磁器製の物も作られるようになったが、火をくべる火袋部分だけは素焼きの別の部品がはめ込んであることが多い。
English: Recent years, there are some issues in use of ryoro such as trouble of maintaining charcoal fire, and a restriction of indoor fire usage, especially at chashitsu (tea-ceremony room) managed by public body.
Japanese: 近年は炭を熾す手間の問題や、特に公共団体が運営する茶室で屋内での火気の使用が制限されるケースが増えている。
English: From such reasons, ryoro with electric cooking stove (electrical resistance), a replacement of hibukuro part, is often used.
Japanese: これらのことから、火袋部分を焜炉電気コンロ（電気抵抗）などに置き換えたものを使用することも多い。
English: The most convincing theory for the origin of this unfamiliar name is a transfer of the word 'abobora,' which meant for 'a pumpkin' in Portuguese, as shape of Bofura was similar to a pumpkin.
Japanese: またこの耳慣れない名称は、形状がカボチャの実と似ていたために、元々はポルトガル語で「カボチャ」を意味していた単語「abobora」が転用されたという説が有力である。
English: Shape of Bofura is exactly the same as kyusu (small teapot), but it has a distinctive shape of very round body as shown in name origin.
Japanese: 見た目は急須と全く同じであるが、名称の由来通り、胴が張り出しまるまるとしているのが特徴である。
English: Bofura is directly put on to a fire therefore it is a made of earthenware of Suyaki (biscuit fire), not a ceramic made.
Japanese: また、直接火に掛ける道具のため、材質は素焼きの陶器であり磁器製はない。
English: Uwateshiki is generally larger and used with binkake (small-size brazier), and Yokoteshiki is used with ryoro (brazier).
Japanese: 上手式は大型の物が多く瓶掛（小型火鉢）に、横手式は涼炉に合わせることが多い。
English: A metallic water boiler such as caldron and iron kettle is commonly used in Sado (Japanese tea ceremony using Matcha [green powdered tea]).
Japanese: 茶道では釜あるいは鉄瓶など、金属製の湯沸かしを使うことがほとんどである。
English: However, in Senchado, it is said that 'metallic water boiler ruins tea flavor,' therefore metallic water boiler is avoided as much as possible.
Japanese: しかし、煎茶道では「金属製の湯沸かしは茶の味が壊れる」として極力避ける傾向がある。
English: In contrast to Senchado, nowadays metallic (mainly stainless steel) and heat-resistant glass made kettles are commonly used for Chinese tea, which was the origin of Senchado.
Japanese: 起源となった中国茶では現在もっぱら金属製（主にステンレス製）や耐熱ガラス製やかんを使うのとは対照的である。
English: Even at present time, passed down art objects which crossed over to Japan in Ming and Qing period are highly esteemed and traded in high price.
Japanese: 現在でも明・清時代に渡来した伝世品は高値で取り引きされ、珍重されている。
English: Bofura of 'Bunsei-watari' is made with good quality soil therefore it is very thin, and said as if they were holding the kettle made of paper.
Japanese: 「文政渡」の物は土質が良いためか、非常に薄く、まるで紙で作ったやかんを持っているかのようであるという。
English: Depending on schools, it is called 'chago,' 'senbai,' 'chasoku,' and 'chakei'.
Japanese: 流派によって「茶合」「仙媒（せんばい）」「茶則」「茶計」とも言われる。
English: It is a convenient utensil that amount of tea leaves can be checked with eye from above described shape.
Japanese: 先述の形状により、茶葉の量を目で確認することが出来る便利な道具である。
English: Most of Senchado utensils are of Chinese origin, but this charyo is a utensil of Japanese origin.
Japanese: 煎茶道の道具は大半が中国に起源が求められるが、この茶量は日本起源の道具である。
English: However, many of them are not suited for the use as they are conversion of bamboo used for ude-makura (arm rest to avoid staining sleeve) that is used in Calligraphy, in mainland China.
Japanese: しかし、これは中国本土では書道に使う「腕枕」（袖を汚さないためと腕の支えとして置く）として使っていた竹を転用した物で、大きすぎて用途に適してない物も多い。
English: An established theory for the origin of charyo is that the utensil was designed by Baisao (a monk of Obakushu sect) in the middle of the Edo period for convenience of measuring and pouring in of tea leaves.
Japanese: 江戸時代中期、売茶翁が茶葉の量と投入の便宜のためにこの道具を考案したというのが定説となっている。
English: Charyo is designed by Baisao whose motto was simplicity and honorable poverty therefore it is believed that charyo was a simple utensil of bamboo that was divided two or three times in appropriate size.
Japanese: 質素清貧をモットーとする売茶翁考案のため、竹を2つか3つ、適当な大きさに割っただけの簡単な物であったといわれる。
English: Later on charyo with Chinese style poem or Chinese style sculpture on the backside came into fashion as a literatures' hobby.
Japanese: その後、文人趣味により、裏面に漢詩を書いたり、中国風の彫刻を施したりするのが流行した。
English: The works of famous literati and craftsman were traded with high price.
Japanese: 有名な文人や職人による細工がほどこされた物は高価で取り引きされることも少なくない。
English: Now, there is a similar utensil called 'chasoku' (scoops for green tea leaves) in Chinese tea, but the shape is not similar to charyo as they are in spoon shaped or shovel shaped.
Japanese: 中国茶でも現在は「茶則」と呼ばれる似た用途の道具を使うが、形状はスプーン状であったりスコップ状の物が多く、余り似ていない。
English: Suichu (also called "mizutsugi") is a utensil used in the sado and sencha tea services for pouring water.
Japanese: 水注（すいちゅう、みずつぎ）は、茶道、煎茶道で使用される、水をつぎ足すための道具。
English: The suichu used in the sado tea ceremony differ slightly from school to school; however, they can basically be classified into the following two categories.
Japanese: 茶道の水注は、流派によって多少の差異はあるものの、次の2種に大別される。
English: There are also differences in the method of use depending on the school or type of service; however, its main role is as a utensil that is kept in mizuya (the washing place in a tea-ceremony room) from which it is removed at the end of a service in order to add water to the mizusashi (a water jug) for holding water that is used in the tea ceremony.
Japanese: これまた流派や手前によって異同があるが、お手前の最後のほうで水屋から持ち出し、水指に水をつぎ足すのが主な役割である。
English: Depending on the school, the suichu used in the sencha tea service is called a 'suiso,' 'mizusashi', 'suikan,' 'mizutsugi,' 'suiteki' or 'chushi.'
Japanese: 流派によって「水罐」「水指」「水灌」「水次」「水滴」「注子」などの読み方がある。
English: However, there are very few suichu made from metal, with most being made from ceramics, many in interesting forms or vibrant decorations.
Japanese: 但し、金属製の物はほとんどなく、陶磁器製で、華やかな形や絵柄の物が多いようである。
English: Suichu used in sado tea ceremony do not occur in a wide array of variations; however, in the sencha tea service, there are a diverse array of forms, including 'gourd shaped,' 'tube shaped,' 'square' and 'peach shaped' types.
Japanese: 茶道の水注は余りバラエティに富んでないのに対し、煎茶道のそれは「瓜式」「筒式」「四方式」「桃型」など形状は多種多様である。
English: It is said that in the Ming and Qing dynasties of China, vessels originally used for serving wine were adopted for use in the tea service, and there are many extravagantly designed examples.
Japanese: 明・清ではもともと酒器だった物を転用したと言われ、目立って派手な物が多い。
English: Although the method of use differs from school to school and depending on the type of service, the suichu fulfills various roles throughout the service, being used for adding water to the tea kettle and to the bofura (water pot), for pouring water into the tea bowl, teapot, and yuzamashi (water cooling jar) at the start of the ceremony to wash and purify them, and to cool the tea bowl and teapot in the heat of the summer.
Japanese: 流派や手前によって異同があるが、やかん、ボーフラに水を足す、手前の最初の方で、茶碗、急須、湯冷ましを清めるために水を注ぐ、夏場は茶碗、急須を冷やすための水を注ぐ、など、手前の中で大きな役割を果たしている。
English: As there are many vibrantly formed examples, it is thought that there are many chances for displaying suichu prominently.
Japanese: 華やかな形状の品が多いのは、登場場面が多く、目立つ道具だからと考えられる。
English: In Sado, kinto is used only in chabako-demae (a outdoor tea ceremony using a chest containing all tea utensils) and is not used in an indoor tea ceremony.
Japanese: 茶道の場合は、巾筒を使うのはほぼ茶箱手前に限られ、室内での手前には使わない。
English: Herein below, the manner of using kinto is briefly explained according to manners of Urasenke school in which chabako-demae is institutional.
Japanese: 茶箱手前を制度化している裏千家の作法に則って以下使い方について簡単に解説する。
English: After folded and wringed dry, chakin is placed into kinto with its selvage up properly according to the manner, and the kinto is placed in the chest, at the position which is slightly right from the center and diagonally right behind the tea bowl.
Japanese: 茶巾は作法通り畳んで絞って水気を取った後に耳を上にして巾筒にいれ、巾筒は茶箱の真ん中やや右より、茶碗の右奥あたりに入れておく。
English: Upon pouring hot water into the tea bowl before the first chasentoshi (a step of stirring powdered tea and hot water with a tea whisk), the kinto containing the chakin in it is taken out of the tea chest and the chakin is taken out of the kinto, and then only the kinto is placed back in the chest.
Japanese: 一度目の茶筅通しの前の湯を入れたところで、茶箱から巾筒ごと茶巾を取り出し、巾筒は箱の中に戻しておく。
English: To pack up the chakin back into the chest, the chakin, held in the right hand, is pressed against the body of the kinto and rolled cylindrically while the kinto is held in the left hand.
Japanese: 片づけるときには巾筒を左手に持ち、茶巾は右手に持って巾筒の胴に当て、くるくると巻く。
English: The rolled chakin is placed back into the kinto and the kinto is again placed back in the chest at the original position.
Japanese: その巻いた状態のまま茶巾を巾筒の中に入れ、巾筒は茶箱の中の最初の場所に戻す。
English: Also, in Senchado, another chakin, relatively larger in size, is separately prepared for the purpose of wiping the tray, and the container to put this kind of chakin in is often called 'bonkinire' to be distinguished from kinto.
Japanese: また煎茶の場合は盆を拭くためのやや大きめの茶巾を別に準備するが、これを入れるものは「盆巾入」といって、巾筒とは区別されることが多い。
English: In the literati culture, it was regarded as an artistically elegant by enjoying tea as one likes while reading Chinese-style poems or drawing pictures at places of scenic beauty.
Japanese: 文人趣味では風光明媚な場所で思いのままに茶を喫し、漢詩を読んだり絵を描くのを興趣とした。
English: Teiran was thus developed for the purpose of taking a set of tea ceremony utensils outdoors.
Japanese: そのため、茶道具一切を屋外へ持ち運びするために誕生したのが提籃である。
English: Japanese literati, who adored continental literati and made it as their goal to live like them, particularly loved this tool among the utensils for Senchado, since it could be regarded as a symbol of the literati culture.
Japanese: 大陸の文人に近づくことを目標とした日本の文人達は、煎茶道具の中でもとりわけ文人趣味の象徴といえるこの道具を寵愛した。
English: Although today, since the Teiran baskets produced by China are increasingly inferior in quality while those produced in Japan have not reached the level of satisfying demands and tastes of Senchado fanciers, good Teiran is one of the tools rarely available in markets.
Japanese: しかし、現代において中国で生産される物には粗製濫造品が増え、一方の国産品は煎茶道愛好家の需要や好みを満足させるレベルに達しておらず、入手が非常に困難な道具の一つとなっている。
English: Many of Teiran baskets which have been loved and handed down from generation to generation have a decorative handle carved in Chinese style which looks exotic.
Japanese: 伝世品には籠の取っ手に中国風の凝った彫刻が施された異国情緒漂わせる物も多い。
English: There are various kinds among the karamono (those imported from China), such as those made of rosewood or ebony as well as lacquer ware, and those inlaid with mother-of-pearl.
Japanese: 唐物（中国からの輸入品）には紫檀や黒檀製の物、漆器や螺鈿が施された物など様々な種類がある。
English: Some Kikyoku have a handle at the top to carry, which resemble an okamochi (a carrying box).
Japanese: 上部に取っ手が付いて持ち運びが出来る形状の物もあり岡持ちに似ている。
English: Most karamono Kikyoku are of fine and rare items but too large in size, so it is considered they are impractical for serving tea.
Japanese: 唐物は名品が多いとされる一方で大型の物が多く、点前には使いにくいとされる。
English: However, while a Teiran is a utensil for outdoor use only, Kikyoku is considered to be a utensil for indoor use only.
Japanese: しかし、提籃が野外専用の道具なのに対し、器局は室内専用の道具と位置づけられている。
English: Kagetsuan-ryu school is a school of Senchado established by Kakuo TANAKA at the end of the Edo period.
Japanese: 花月菴流（かげつあんりゅう）は江戸時代末期に田中鶴翁によって起こされた煎茶道の流派である。
English: As a school of Senchado, it is one of the oldest schools along with the Ogawa-ryu school, and it is considered to be the representative of the 'master in tea ceremony.'
Japanese: 煎茶道流派としては小川流と並んで最も古い流派であり、「宗匠茶」の代表格とされる。
English: He expanded his hobbies aside from his family profession, and because he also had a connection to Manpuku-ji Temple he became interested in Sencha.
Japanese: 家業の傍ら趣味を広げ、萬福寺との縁もあったことから煎茶に興味を持つようになる。
English: His devotion was noted by the kuge (court nobles) and buke (samurai families), and in October, 1838, he received 'Sencha Iemoto,' written in calligraphy, from the head of the Ichijo family at the time.
Japanese: その傾倒ぶりが公家や武家にも知られるほどとなり、天保9年（1838年）9月、時の一条家当主から「煎茶家元」の揮毫を賜る。
English: Because it is the oldest school in Senchado, there are many branch schools established by its disciples who later became independent.
Japanese: 煎茶道では最も古い流派のため、その後独立した弟子が作った分流も多い。
English: There are many of them such as 'Obaku Kagetsu-ryu School,' 'Obaku Baisa-ryu School,' 'Shuken-ryu School,' 'Shofuseisha,' 'Senchado Gakkai' and 'Fuinsha School.'
Japanese: 「黄檗花月流」「黄檗売茶流」「習軒流」「松風清社」「煎茶道学会」「風韵社流」など多数にのぼる。
English: It is formally called "Akomeginu" as Akome is worn between undergarment and outer garment (stuffing up or covering something is pronounced "aikomete" in old Japanese.)
Japanese: 正式名称は袙衣（あこめぎぬ）と言い、肌着と表着の間に「相籠めて」着ることから、その名があるという。
English: Akome which went through the process of kinutauchi (hammering the cloth) or itabiki (coating the cloth) is specifically called "uchiginu."
Japanese: 特に、砧打ちや板引などの加工を施した袙を「打衣」（うちぎぬ）と呼ぶ。
English: Migoro (Front and back of kimono excepting the "eri" [collar], "sode" [sleeves], and "okumi" [front]) is double width like other kimono, and tarikubi (wrapped front with V-shaped neckline) which is as same as today's kimono.
Japanese: 身頃は着物の原則に従い二幅で、垂領（現在の着物と同じ前で打ち合わせるタイプ）。
English: Its sleeve is called hirosode (a wide sleeve) whose wrist opening is approximately 36 centimeters long unlike that of "ho" [outer robe] which is approx. 54 centimeters.
Japanese: 袖は広袖と言って袖口が広く、袍などと違って布一幅分（袍などは一幅半）である。
English: Akome was worn without lining cloth (which was called "Hihegi") in summer and was tailored to a wadded version in winter.
Japanese: ただし、夏場は寒暖調節のために「ひへぎ」と言って裏地をはいだり、冬は綿入れ仕立てにすることもあった。
English: During a festival, people wore Akome of their favourite colors (called "Someakome".)
Japanese: 色も、祭りなどに参加する際には「染袙」と読んで好きな色のものを用いた。
English: The origins go back to around the 16th century, though it became a lost art when handing down of the form died out with the demise of the Ryukyu kingdom.
Japanese: その起源は16世紀頃まで遡るが、琉球王国の滅亡とともに伝承が絶え、幻の音楽となった。
English: Music with roots in China was performed in the Ryukyu kingdom when diplomatic missions arrived from China (Ming & Qing) or whenever missions of gratitude and congratulations (Edo nobori) were sent to Shogun Tokugawa.
Japanese: 琉球王国では、中国(明や清)から冊封使が来たとき、あるいは徳川将軍に謝恩使や慶賀使を送る「江戸上り」のとき、中国系の音楽を演奏した。
English: During that time, music performed sitting down indoors was called 'Uzagaku' (lit. seated music), while music performed outdoors to accompany processions was called 'Rujigaku' (lit. route music).
Japanese: このうち、室内で座って合奏する音楽を「御座楽」と呼び、屋外で行列しつつ歩きながら合奏する音楽を「路次楽」(るじがく)と呼んだ。
English: Uzagaku was a solemn and refined form of Gagagu (traditional Japanese court music), whereas Rujigaku utilized instruments such as the charamela (a shawm-like double reed wind instrument) and taiko (large drum) for impressive and inspirational musical effect.
Japanese: 御座楽は荘重で優雅な雅楽であり、路次楽もチャルメラや太鼓などによる荘厳な鼓吹楽(こすいがく)であった。
English: In the Ryukyu kingdom there were regions where the descendents of naturalized Chinese settled together, becoming known as the 'Thirty Six Families of Kume'.
Japanese: 琉球王国には中国から帰化した人々の子孫が集住する地域があり、彼らは「久米三十六姓」と呼ばれた。
English: Individuals included as part of the Thirty Six Families of Kume took orders from the Ryukyu monarchy, studied Chinese culture,including language and music, in mainland China, principally Fujian Province.
Japanese: 久米三十六姓の人々は、琉球国王の命令を受けて、中国本土(主に福建)に渡って留学し、中国語や、音楽などの中国文化を学習した。
English: For 'Edo nobori (the missions to Edo),' boys were trained in musical repertoire by music teachers before attaining manhood and, participated in Uzagaku ensembles as 'Gakudoji (lit. child musicians).'
Japanese: 「江戸上り」では、元服前の男児が、楽師から楽曲を仕込まれて、「楽童子」(がくどうじ)として御座楽を演奏した。
English: During the roughly 200-year-long period of missions to Edo from 1653 to 1850, approximately 70 works were produced and performed.
Japanese: 1653年の江戸上りから1850年の江戸上りまで、約200年の間に、70曲ぐらい演奏された。
English: Ensembles consisted of a maximum of 6 performers who often switched between around 10 pieces in any one performance.
Japanese: 最大で６人のアンサンブルで、１回の演奏会で10曲ぐらい弾くことが多かった。
English: During the Edo period, the Ryukyu kingdom was nominally a tributary state of Ming, and later Qing China, but in real terms was ruled by the Satsuma clan.
Japanese: 江戸時代の琉球王国は、名目的には中国(明、および次の清)に服属したものの、実質的には日本の薩摩藩の支配を受けていた。
English: The Satsuma clan would often play 'Rujigaku (lit. route music)' for people along the road to Edo and 'Uzagaku (lit. seated music)' for important people in the Edo shogunate below the status of Shogun as a show of power.
Japanese: 薩摩藩は、江戸までの街道ぞいの人々に「路次楽」を聴かせ、将軍以下の江戸幕府の要人たちに「御座楽」の演奏を聴かせることで、自藩の支配力を顕示した。
English: The East Asian countries that use Chinese characters, Japan, Korea and Vietnam, each had 'Gagaku' court music imported from China.
Japanese: 東アジアの漢字文化圏の諸国では、日本も朝鮮もベトナムも、それぞれ中国伝来の宮廷音楽を「雅楽」としていた。
English: Ryukyuan Uzagaku (lit. seated music) was also part of this tradition and in quality and elegance surpassed Gagaku from mainland Japan.
Japanese: 琉球の御座楽もその一つであり、その品格と優美さは、日本本土の雅楽に勝るとも劣らぬものであった。
English: The Meiji government annexed the Ryukyus calling them 'Okinawa Prefecture,' although Qing China, the Ryukyu's nominal suzerain, expressed its dissatisfaction at this.
Japanese: 明治政府は琉球を「沖縄県」として併合したが、琉球王国の名目的な宗主国だった中国(当時は清)はこれに不満を表明した。
English: This questionable situation in international relations became one reason that the traditions of Okinawan music of Chinese origin and in particular 'Uzagaku (lit. seated music)' ceased to be passed down in the Meiji period.
Japanese: このような微妙な国際関係も一因となって、沖縄における中国系音楽の伝統、特に「御座楽」は、明治時代に伝承が絶えた。
English: The final documented performance of 'Uzagaku' was in 1888 in the presence of Hirobumi ITO.
Japanese: 「御座楽」の最後の上演記録は、明治20年、伊藤博文の前で演奏したのが最後である。
English: - Instruments: Fortunately, the actual instruments presented to the Owari Tokugawa Family (Tokugawa Art Gallery, Nagoya City) and the Mito Tokugawa family (Mito City, Ibaraki Prefecture) during 'Edo nobori (missions to Edo)' exist to this day.
Japanese: ・楽器：「江戸上り」のとき献上された現物が、幸い、尾張徳川家(名古屋市・徳川美術館)と水戸徳川家(茨城県水戸市)に現存。
English: The letters of gratitude sent by King Sho Iku in 1832 include a scroll depicting a musical performance, dance and play held at the Shimazu mansion in Shiba-Shirokane in Edo.
Japanese: 1832年の尚育王の謝恩使の一行が、江戸の芝白金の島津邸で行った奏楽と舞踊、演劇の様子を描いた絵巻。
English: - Song lists: notes about ensemble makeup and song lists are recorded in "Tsuko Ichiran" and other records of 'Edo nobori'.
Japanese: ・曲目：『通航一覧』ほかの「江戸上り」の文献記録の中に、楽隊の編成や曲目名などが記載されている。
English: - Sheet Music: Seihin YAMAUCHI (1890 - 1986) transcribed melodies in 1912 that were sung to him by elderly people into sheet music (Western 5 stave format), and amongst these transcriptions there are at least 3 styles of Uzagaku compiled into Yamauchi's "Research into Ancient Chants & Secret Pieces of the Ryukyu Kingdom (Ryukyu-ocho Koyo Hikyoku no kenkyu)" of 1964.
Japanese: ・楽譜：山内盛彬(やまうちせいひん1890-1986)が、1912年に古老が口で歌った旋律を聞き取って採譜した楽譜(五線譜)の中に、御座楽の曲が3種類ほどあり、山内の『琉球王朝古謡秘曲の研究』(1964)に収録されている。
English: Being based on the vague recollections of elderly people, all the tunes are fragments.
Japanese: 古老のおぼろげな記憶によるもので、しかもいずれも曲の途中で切れてしまっている。
English: - Lyrics: Some lyrics remain that were transcribed into a notebook by Yoshitaro KAMAKURA (1898-1983) prior to Shuri-jo Castle being burnt during the war (Okinawa Prefectural Arts University Library Warehouse 'Yoshitaro KAMAKURA Notebook 54 "Chinese Poem & Tang Dance Compilation"').
Japanese: ・歌詞：戦争で焼ける前の首里城で鎌倉芳太郎(かまくらよしたろう1898-1983)がノートに筆写した歌詞が残っている(沖縄県立芸術大学附属図書館蔵「鎌倉芳太郎ノート54『唐歌唐踊集』」)。
English: There is apparently music identical to Uzagaku still performed on mainland China although, at the moment, academics are researching which Uzagaku correspond to which pieces from the Chinese mainland.
Japanese: 中国本土には、御座楽で演奏されたのと同じ楽曲が現存しているはずであるが、御座楽のどの曲が中国本土のどの曲にあたるかについては、目下、学者たちが研究中である。
English: In recent years in Okinawa Prefecture, events such as the restoration of Shuri-jo Castle have presented greater opportunities to reassess Ryukyu kingdom court culture.
Japanese: 近年の沖縄県では、首里城復元などを機に、琉球王国の宮廷文化を再評価する機運が高まっている。