nntsuzu/KFTT huggingface dataset:
English: The restored castle was like an 'empty box', devoid of pageantry and music.
Japanese: 首里城という「ハコ」が先にできたものの、ハコの中身である儀礼や音楽は空っぽであった。
English: Also, there is a trend to look again at 'Uzagaku' as a symbol of Okinawa's unique identity and international exchange.
Japanese: また、沖縄独自のアイデンティティーと国際交流の象徴として、「御座楽」を見直す風潮も出てきた。
English: Having accepted that times are changing, presently, efforts are being made to revive Uzagaku.
Japanese: こうした時代の変化を受けて、現在、御座楽を復元する事業が行われている。
English: Okuchi bakama is red-colored wide sleeve hakama which is worn as underwear of the outer hakama for sokutai shozoku (traditional ceremonial court dress).
Japanese: 大口袴（おおくちばかま）とは、束帯装束の表袴の下に履く裾の大きく開いた紅色の肌袴のこと。
English: The authentic okuchi bakama was sometimes called "akaokuchi," to differentiate it from white or pale blue okuchi bakama which was later worn by boys or samurai as outer wear.
Japanese: 後世、少年や武家の袴として白や浅葱の大口袴を独立して使うようになったため、正式な肌袴としての大口袴を特に赤大口と呼ぶこともある。
English: Okuchi bakama is an ankle-length (called "tsuitake," full length of height) kiri-hakama (short fringe hakama) of 144 centimeters wide (72 centimeters for each side) which is tailored with red hiraginu (plain silk.)
Japanese: 本来の大口袴は紅色の平絹を使って仕立てる、足首丈（対丈）四幅（左右二幅ずつ）の切袴である。
English: Although it is a lined garment, the unused part of the outer material is folded back and used as the lining cloth, which is a process called "Hikikaechinourauchi."
Japanese: 袷仕立てだが、普通の衣装のように裏地を別に用意するのではなく表地の余りを折り返して裏地にする「引返しの裏打ち」という処理をする。
English: Okuchi bakama has only one long waist cord (called "Koshiippon") sewn on with both ends hanging, while present-day hakama has two waist cords (one in front and another in back).
Japanese: 腰紐は現代の袴のように前後二本ではなく、「腰一本」と言って腰周りに長い紐を一本縫い付けて左右の端を垂らしたものである。
English: As a rule okuchi bakama is red, but there were "kokiiro (dark color)" okuchi bakama dyed with madder and lithospermum root for "Noshozoku" of young people.
Japanese: 色は紅色が大原則だが、若年者の「濃装束」では紅色の代わりに茜と紫根で染める「濃色」（こきいろ）を用いた。
English: High-ranking nobility wore okuchi bakama of reddish yellow (color of a dead and fallen leaf) from age 40 onwards, as the aged.
Japanese: 高位の貴族なら四十歳を越えた辺りから老人として朽葉色（黄赤に近い茶色）を使うようになった。
English: For hanjiri (short informal clothes) costume of court noble boys, either white okuchi bakama called "Saiharinookuchi" or sashinuki (a type of hakama, pleated trousers for formal wear) was worn.
Japanese: 公家少年の半尻（丈の短い狩衣）装束には、指貫の代用として「前張大口」（さいはりのおおくち）と言う白い大口袴を使用した。
English: It is very firm garment with two waist cords (one in front and another in back), its front panel tailored with seigo, and its back panel tailored with oseigo.
Japanese: 腰紐は前後二本で、前身は精好、後身は大精好で仕立てた張の強いものであった。
English: As for hitatare (court dress) costume of samurai during the Muromachi period, "Ushirobarinookuchi" was used, which is also a white hakama but its front is tailored with oseigo while the back is tailored with seigo.
Japanese: 一方、室町時代の武家男性の直垂装束に使われたのは「後張大口」（うしろばりのおおくち）と言うタイプの同じく白い袴で、前張大口と前後の身頃に使う生地が逆になっている。
English: Abumikuchi is a Japanese specter in "Hyakki Tsurezure Bukuro" (One hundred bags in idleness), a collection of specters illustrations by Sekien TORIYAMA.
Japanese: 鐙口（あぶみくち）は、鳥山石燕の妖怪画集『百器徒然袋』にある日本の妖怪。
English: According to Shigeru MIZUKI, a Japanese cartoonist specializing in specters, Abumikuchi was originally a stirrup used by a busho (Japanese military commander.)
Japanese: 妖怪漫画家・水木しげるの説によれば、鐙口はもとは武将の使う鐙であった。
English: The abumi was supposed to share the same fate with the owner, but he was killed in battle and the abumi was left in the field,
Japanese: 本来は持ち主である武将と運命を共にするはずが、その武将が戦死し、野に捨てられた。
English: The abumi turned into a specter, and is waiting in vain for its owner as a dog waits for its owner.
Japanese: その鐙が妖怪と化し、飼い主を待つ犬のように、帰るはずのない主をいつまでも待ち続けているのだという。
English: However this folk story is not written in the original book "Hyakki Tsurezure Bukuro" (One hundred bags in idleness), and Kenji MURAKAMI, a tourist of a specter, says that Sekien created the story as an explanation of the illustration.
Japanese: 但し原典『百器徒然袋』にはそのような伝承は述べられておらず、妖怪探訪家・村上健司はこれを、石燕が絵解きとして創作した物としている。
English: Abura tokkuri is a traditional Japanese folk utensil used as a container when purchasing or preserving oil for tomyo (votive light.)
Japanese: 油徳利（あぶらとっくり）は、日本の民具の一つで、灯明などに用いる油の購入用または保存用の容器。
English: In order to pour oil into a pan or a hyosoku (oil lamp), oil in abura tokkuri is first poured in an oilcan.
Japanese: 火皿や秉燭（油皿）に油を注ぐ際には、この油徳利から油差しに移して用いる。
English: There were some innovative abura tokkuri with a device to recycle dripped oil (a saucer attached in the top of abura tokkuri catches dripped oil and drains it back to abura tokkuri) because oil was expensive at that time.
Japanese: 油が高価であったことから、徳利の口から垂れた油が無駄にならないように、徳利上部に受けを付けておき、垂れた油が再び徳利の中に戻るよう工夫したものもあった。
English: Some are, however, made of metals with a device to put charcoal in the bottom which can warm up the solidified oil during winter.
Japanese: だが、寒いと油が固まりやすいことを考慮し、底の部分に炭火を入れることのできる仕掛けを持つ金属性のものもある。
English: Tradition says that Tsukumo-gami (gods to a variety of things, some of which are specters transformed from artifacts) of abura tokkuri exists.
Japanese: また伝承上には、この油徳利が付喪神（器物の変化した妖怪）となったものがある。
English: In "Nisenzuihitsu,"a Japanese classic essay, it is written that abura tokkuri of a farm family in Kishiwada City, Izumi Province (present-day Kishiwada City, Osaka Prefecture) kept serving oil that the family needed for as long as five years.
Japanese: 古典の随筆『二川随筆』に記述があり、和泉国岸和田市（現・大阪府岸和田市）の農家にある油徳利が、生活に必要な油を5年間に渡って出し続けたという。
English: Igo no sei is a spirit of Igo which is described in old books and so on from the Edo Period.
Japanese: 囲碁の精（いごのせい）は、江戸時代の古書などに記述のある囲碁の精霊。
English: According to the book written by a researcher of specters, Katsumi TADA, it is considered as a Tsukumo-gami (gods to a variety of things), and according to the conjecture of an author named Kenji MURAKAMI, it appears in front of igo lovers.
Japanese: 妖怪研究家・多田克己の著書においては付喪神の一種とされ、作家・村上健司の推測によれば、囲碁の好きな者のもとに現れるものとされる。
English: One day when Sakuwan was taking a walk around a temple nearby, a pair of fair complexioned man and a dark complexioned man accosted him.
Japanese: 昨庵があるときに近くの寺を散歩していると、色白と色黒の2人組が話しかけてきた。
English: When the two men asked Sakuan if he liked playing Igo, he answered in a humble manner saying he is crazy about it though he is no good, and gradually became familiar with them as he conversed with them.
Japanese: 2人に碁が好きかと尋ねられた昨庵は、下手の横好きなどと謙遜して答え、話を交わす内に次第に2人と馴染みとなった。
English: When Sakuan asked what their names were, the dark complexioned man answered 'I am Chigen living in the mountain' and the fair complexioned man answered 'I am Chihaku living near the ocean', and they had disappeared since.
Japanese: 昨庵が2人の名を尋ねると、色黒の者は「山に住む知玄（ちげん）」、色白の者は「海辺に住む知白（ちはく）」と名乗り、それきり姿を消してしまった。
English: In "Rankadokiwa" written by Motomi HAYASHI, this temple was Enshoji temple, Kashiwagi village, and Sakuan became a master of igo since then, having no opponents in the entire Edo town.
Japanese: 林元美『爛柯堂棋話』では、この寺は柏木村円照寺で、昨庵はこの後囲碁の名人となり、江戸中に敵が無くなったとある。
English: A Shoya (village headman) who lived in Sekiya, Iwafune County in Nigata Prefecture was stranded due to snow while taking a trip, and had to take up a lodging in a town.
Japanese: 新潟県の岩船郡関谷に住む庄屋が旅の途中、雪で足止めを食らい、とある町で宿をとることになった。
English: Thinking that he ought to kill time enjoying his igo that he liked, he played igo with an old man who was staying in the same inn, and as he did so, his skill remarkably progressed for some reason.
Japanese: 暇つぶしに好きな碁を楽しもうかと、同じ宿にいた老人と碁を打っていると、なぜか碁の腕前がめきめきと上達した。
English: Kameosa is a Japanese specter that is introduced in "Hyakki Tsurezure Bukuro" (One hundred bags in idleness), a collection of specters illustrations by Sekien TORIYAMA.
Japanese: 瓶長、甕長、甌長（かめおさ）は、鳥山石燕の妖怪画集『百器徒然袋』にある日本の妖怪。
English: It is depicted as an earthenware pot having eyes, nose, and mouth, and according to Sekien's explanatory note, it was a pot with happiness so to speak, for even if water is drawn from the pot, the water never exhausted.
Japanese: 甕が目鼻と口を備えたような姿で描かれており、石燕の解説文によれば、瓶の水を汲んでも決して水が尽きることのない、いわば幸せの入った瓶とされている。
English: There is also an interpretation that an earthenware pot had become a Tsukumo-gami (gods to a variety of things) with soul as the years passed by, and have come to acquire power to manipulate water as it wished.
Japanese: 水瓶が歳月を経た末に魂を持った付喪神（器物が変化した妖怪）で、水を自在に操る能力を持つとの解釈もある。
English: Since no folklore on a specter named Kameosa exist, it is thought to be a created specter, and there is a theory that it was created from "亀長" (Kameosa), a pen name for Harumachi KOIKAWA as a painter, who was a disciple of Sekien.
Japanese: 瓶長という名の妖怪の伝承は存在しないことから創作妖怪とされ、石燕の門人・恋川春町の絵師としての雅号・亀長（かめおさ）から創作されたものとの説もある。
English: Kotofurunushi is one of Japanese specters that is introduced in "Hyakki Tsurezure Bukuro" (One hundred bags in idleness) which is a collection of specters illustrations by Sekien TORIYAMA, and it is Tsukumo-gami (gods to a variety of things) of koto (a long Japanese zither with thirteen strings).
Japanese: 琴古主（ことふるぬし）は、鳥山石燕による妖怪画集『百器徒然袋』にある日本の妖怪の一つで、琴の付喪神（器物が変化した妖怪）。
English: It is thought that Tsukushi goto (koto music from the Tsukushi area of Kyushu), one of sokyoku (koto music), has become obsolete, and when even its tone has been dismissed from people's minds, the koto which played the music of tsukushi goto transformed itself to a specter.
Japanese: 箏曲の箏曲筑紫箏がすたれ、その曲の音色すら人々の心から忘れ去られてしまったとき、筑紫箏を奏でる琴が変化して妖怪となったものとされる。
English: Also, in "Hyakki yagyo emaki"(picture scroll of Hyakki yagyo) from Muromachi Period, since a speter of koto is depicted, it is said that Sekien has depicted kotofurunushi on the basis of "Hyakki yagyo emaki".
Japanese: また室町時代の『百鬼夜行絵巻』にも琴の妖怪が描かれていることから、石燕はこれをもとに琴古主を描いたとの説もある。
English: Furthermore, there is also such a theory shown below that Kotofurunushi is a folklore from the era of Emperor Keiko.
Japanese: また、琴古主は景行天皇時代の伝承によるものという、以下のような説もある。
English: From the orders of Emperor Keiko, his vassals set up a place for a banquet on a hill at the southern part of Kanzaki County, Saga Prefecture.
Japanese: 景行天皇の命により、家臣たちが佐賀県神埼郡南部のとある丘に宴の場を作った。
English: Since then, on passing by near this tree at night, the sound of koto has come to be heard out of nowhere, and before being realized, the tree had begun to be called as the tree of Kotofurunushi.
Japanese: それ以来、夜にこの木の付近を通ると、どこからともなく琴の音色が聞こえるようになり、いつしかその木は琴古主の名で呼ばれるようになったのだという。
English: Shamichoro is a Japanese specter that is introduced in "Hyakki Tsurezure Bukuro" (One hundred bags in idleness), a collection of specters illustrations by Sekien TORIYAMA.
Japanese: 三味長老（しゃみちょうろう）は、鳥山石燕の妖怪画集『百器徒然袋』にある日本の妖怪。
English: It is a type of Tsukumo-gami (gods to a variety of things), and it is considered that a samisen (a three-stringed Japanese banjo) which had once been used by a master player had transformed into a specter after being thrown away.
Japanese: 付喪神（器物が変化した妖怪）の一種で、かつて名人に使われていた三味線が打ち捨てられ、妖怪化したものとされる。
English: According to the explanatory note on Shamichoro by Sekien in "Hyakki Tsurezure Bukuro", an old proverb "you cannot become a choro (senior monk) from a shami" is mentioned which means a higher rank cannot be achieved without following the proper sequence.
Japanese: 『百器徒然袋』での石燕による三味長老の解説文では、「沙弥（しゃみ）から長老にはなられず」という、順序を踏まずに上位にはなれないことを意味する古いことわざが引き合いに出されている。
English: Shami which is mentioned here means men who have not become Buddhist monk even if they have become a priest, and choro means Kokushichoro who were the greatest of all Buddhist monks at the time.
Japanese: ここで言う沙弥とは、出家してもまだ正式な僧侶になっていない男子を指し、長老とは当時の僧侶の最高峰である国師長老を指す。
English: In other words, the theory holds that it takes many years for a samisen to become a shamichoro, just as it takes a long time and sufficient training for a shami to become a choro.
Japanese: 即ち、沙弥が長年の末に長老になるのと同じくらい、歳月を経た三味線が三味長老になることを示すとの説がある。
English: Setotaisho is a Japanese specter that is introduced in "Hyakki Tsurezure Bukuro" (One hundred bags in idleness) which is a collection of specters illustrations by Sekien TORIYAMA, and it is a type of Tsukumo-gami (gods to a variety of things) of chinaware.
Japanese: 瀬戸大将（せとたいしょう）は、鳥山石燕による妖怪画集『百器徒然袋』にある日本の妖怪で、陶磁器の付喪神（器物が変化した妖怪）の一種。
English: A specter which looks like an assortment of setomono (ceramics which were originally made in the regions of Seto, Aichi Prefecture) is depicted as wearing an armor made up of setomono.
Japanese: 瀬戸物の寄せ集めのような妖怪が、瀬戸物の甲冑を身に着けたような姿で描かれている。
English: It is not a specter that actually has a legend of some sort, but it is said to be depicted as a creation imaging Guan Yu, based on the analects of Cao Cao and Guan Yu who were the characters from "Sanguo Zhi" (History of the Three Kingdoms in China), and there is also a theory that it was depicting a struggle for power between two types of ceramics, setomono and chinaware.
Japanese: 実際に何らかの伝承を伴う妖怪ではなく、『三国志』の登場人物である曹操と関羽の逸話をもとに、関羽をイメージした創作物として描かれたものといわれており、瀬戸物と陶磁器の2種の陶磁器の激しい勢力争いを描いたものとの説もある。
English: Zenfusho is a type of Tsukumo-gami (gods to a variety of things) and a specter of chagama (iron tea ceremony pot) that is introduced in "Hyakki Tsurezure Bukuro" (One hundred bags in idleness) by Sekien TORIYAMA.
Japanese: 禅釜尚（ぜんふしょう）は、鳥山石燕による『百器徒然袋』にある付喪神（器物が変化した妖怪）の一種で、茶釜の妖怪。
English: Out of the many specters of utensils, it is considered especially sacred, for the pot was used such as for 'Kibitsuno Okamauranai', which is a fortune telling that distinguished lucky omen.
Japanese: 器物の妖怪が数ある中、釜は「吉備津の御釜占い」など吉兆を見極める占いに使用されるなど、器物の中でも特に神聖なものとされている。
English: According to Shigeru MIZUKI, a specter cartoonist, Zenfusho hides in a thicket and suddenly appears in front of a person passing nearby; it will do nothing if one retraces, but it if one proceeds, it will scratch with its sharp nails.
Japanese: 妖怪漫画家・水木しげるの説によれば、これは草むらに隠れて近くを通る人の前に現れて驚かすもので、引き返せば何もしないが、前に進むと鋭い爪でひっかくという。
English: In the illustrations, Yarikecho and Koinryo is depicted together with Zenfusho, but their relations with Zenfusho is unknown.
Japanese: 画図では槍毛長や虎隠良という妖怪が禅釜尚と共に描かれているが、禅釜尚との関連性は不明。
English: Also, like Kotofurunushi, the design of Yarikecho and Koinryo are considered to have motifs from the specters introduced in "Hyakki yagyo emaki" (picture scroll of Hyakki yagyo) of Muromachi Period, but only Zenfusho is Sekien's originality.
Japanese: また、槍毛長と虎隠良は琴古主などと同様、室町時代の『百鬼夜行絵巻』にある妖怪がデザイン上のモチーフとされているが、禅釜尚のみは石燕のオリジナルらしい。
English: Bakefurugeta or Baketafurugeta is one of Japanese specters, and a type of Tsukumo-gami (gods to a variety of things) that have come to life after geta (Japanese footwear, wooden clogs) became old.
Japanese: 化け古下駄（ばけふるげた）または化けた古下駄（ばけたふるげた）は、日本の妖怪の一つで、下駄が古くなって魂を持ったとされる付喪神（器物が変化した妖怪）の一種。
English: In "Tohoku Kaidan no Tabi" (Trip to the scary stories in Tohoku Region), a book written by Norio YAMADA, there is a Kaidan (Ghost Stories) titled 'Furumino Furugasa Furugeta' (An old straw coat, an old umbrella and an old geta) as described below.
Japanese: 山田野理夫の著書『東北怪談の旅』に「古蓑・古傘・古下駄」と題し、以下のような怪談がある。
English: He heard murmur from a thicket nearby, and as he went closer, he heard the voices of singing and dancing which did not belong to human beings; the voices were calling themselves as 'geta' 'wara' 'taiko' 'warigo' and so on.
Japanese: 近くの藪からざわめき声が聞こえるので近寄ると、人間とは異なる声で歌い踊る声が聞こえ、その声は自分たちを「下駄」「蓑」「太鼓」「割籠」などと呼んでいた。
English: The next day, the young man told what had happened to his group and as they went to the thicket, mino (straw raincoat), taiko, and warigo which have been washed ashore from the sea were scattered about, and among them, there was a geta without a strap.
Japanese: 翌日、その若者が仲間たちに事情を話してその薮へ行ってみると、海から打ち上げられた蓑、太鼓、割籠などが散らばっており、その中に鼻の欠けた下駄があった。
English: On suspecting this geta to be the one with a hurting nose, the young men burned the geta and others on the spot.
Japanese: あの鼻を痛がる者の正体はこの下駄かと睨んだ若者たちは、下駄などをその場で焼き捨てた。
English: Since then, the man with the hurting nose had not appeared, and voices of singing and dancing had not been heard from the thicket.
Japanese: 以来、あの鼻を痛がる者は現れず、薮の中から歌い踊る声も聞こえなくなったということである。
English: Further, a ghost of footwear appeared from "Kikimimi Soshi" (The attentive ear copybook), a book written by Kiyoshi SASAKI, and it is surmised that this footwear is a geta, but it is unknown whether if it is identical with Bakefurugeta.
Japanese: また佐々木喜善の著書『聴耳草紙』にも履物の化け物が登場し、この履物が下駄であることが推察されているが、化け古下駄と同一のものかは不明。
English: Biwabokuboku is a Japanese specter that is introduced in "Hyakki Tsurezure Bukuro" (One hundred bags in idleness), a collection of specters illustrations by Sekien TORIYAMA, and it is a specter of biwa (Japanese lute).
Japanese: 琵琶牧々（びわぼくぼく）は、鳥山石燕による妖怪画集『百器徒然袋』にある日本の妖怪の一つで、琵琶の妖怪。
English: It is a biwa which has transformed into a biwa-playing minstrel, and a kind of Tsukumo-gami (gods to a variety of things).
Japanese: 琵琶が琵琶法師に変化した姿であり、付喪神（器物が変化した妖怪）の一種とされる。
English: The body looks like a human being, but its head is biwa, and it carries a walking stick with eyes closed like the blind biwa-playing minstrel.
Japanese: 体形は人間のようだが、頭部は琵琶であり、盲目の琵琶法師のように目を閉じて杖をついている。
English: According to the "Kinpisho" (Records of the history and origin of imperial court ceremonies which set forth the rules and etiquette for carrying out such ceremonies), a practical guide to Yusoku kojitsu (court and samurai rules of ceremony and etiquette) written by Emperor Juntoku, there were once famous biwa called "genjo" and "bokuba."
Japanese: 順徳天皇自身の手による有職故実の解説書『禁秘抄』によれば、かつて「玄上（げんじょう）」と「牧馬（ぼくば）」という琵琶の名器があった。
English: "Genjo" in particular were involved in strange occurrences, such as when a "genjo" dashed out of the Imperial Palace by itself when the place was burnt down and when an ogre, who was attracted to its sound, stole a "genjo" and hung it by a piece of string from Suzakumon (the main, southern gate of the Palace City).
Japanese: 特に玄上の方は、内裏が焼失したときにひとりでに外へ飛び出したり、その音色に魅せられた鬼がこれを盗み出して、朱雀門から紐で吊り下ろしたといった不思議なことがあった。
English: According to the explanation in "Hyakki Tsurezure Bukuro", Sekien states that it had been those "genjo" and "bokuba" that have transformed into Biwabokuboku.
Japanese: 『百器徒然袋』の解説文によれば、石燕はこの玄上と牧馬が琵琶牧々に変化したと述べている。
English: Furthermore, since the "Hyakki Yagyo Emaki" (a picture scroll of the demons' night parade drawn in the Muromachi period, which was before Sekien's time) contains a drawing of a biwa specter, there is a theory that Sekien drew 'Biwabokuboku', which is introduced in the "Hyakki Tsurezure Bukuro", based on the "Hyakki Yagyo Emaki."
Japanese: また、石燕より以前、古くは室町時代の『百鬼夜行絵巻』に琵琶の妖怪が描かれていることから、石燕は『百鬼夜行絵巻』をもとに『百器徒然袋』の琵琶牧々を描いたとの説もある。
English: Menreiki is one of Japanese specters that is introduced in "Hyakki Tsurezure Bukuro" (One hundred bags in idleness) which is a collection of specters illustrations by Sekien TORIYAMA, and it is a specter of Gigaku-men Mask (masks for Gigaku, an ancient masked drama).
Japanese: 面霊気（めんれいき）は、鳥山石燕による妖怪画集『百器徒然袋』にある日本の妖怪の一つで、伎楽面の妖怪。
English: As if in a dream, I think it may have been Kawakatsu's contrivance that made the masks have life.'
Japanese: 「かく生けるがごとくなるは、川勝のたくめる仮面にやあらんと、夢心におもひぬ。」
English: According to the book on noh theory, "Fushikaden" (The Flowering Spirit) by Zeami, Kawakatsu SO who was the originator of sarugaku (form of theatre popular in Japan during the 11th to 14th centuries) who served Prince Shotoku was given a mask that the prince himself had made, and Menreiki is said to have been depicted based on this anecdote.
Japanese: 世阿弥による能の理論書『風姿花伝』では、太子に仕えた猿楽の祖・泰河勝が太子の作による面を与えられたとあり、面霊気はこの逸話をもとに描かれたといわれている。
English: It is a Tsukumo-gami (gods to a variety of things) that have come to life when an prominent mask became old, and there is a theory that it pleads the owner to handle with care.
Japanese: 優れた面が古くなって魂を宿した付喪神（器物が変化した妖怪）であり、持ち主に対して大切に扱ってくれるよう頼むとする説もある。
English: Mishige or Mishige-Majimun is a kind of Fumo-gami which has been known in Okinawa Prefecture and is a kind of Majimun (the general name for devils in Okinawa and Amami Islands south of Kagoshima Prefecture).
Japanese: 飯笥（みしげー）またはミシゲー・マジムンは、沖縄県に伝わる付喪神の一種で、マジムンの一種。
English: Originally Mishige meant a rice paddle, which got old and changed to a Yokai (specter) called a Mishige.
Japanese: 本来の飯笥とはしゃもじのことだが、妖怪の飯笥とはこの飯笥が古くなって妖怪に変化したもののことである。
English: Similarly there is a Nabige Yokai (dipper specter) among those specters to which eating utensils changed.
Japanese: 同様に食器が変化した妖怪に、鍋笥（ナビゲー、杓子のこと）の妖怪がいる。
English: It is said that sometimes eating utensils which have been thrown away become specters and begin to play at night, and music comes from the garbage at this time.
Japanese: 捨てられたこれら食器類がこれらの妖怪となって夜に遊び出すことがあり、そのときにはごみ捨て場から音楽が聞こえてくるという。
English: Because of this kind of bizarrerie, it is said that old rice paddles and dippers should not be thrown away.
Japanese: そのような怪異があるため、古くなった飯笥や鍋笥は捨てるものではないといわれていたという。
English: At night a man who heard the sound of a musical instrument went out of his house to find young men and women playing in the square.
Japanese: ある夜、楽器の音色を聞いた男が家から外へ出てみると、若い男女が広場で遊んでいた。
English: Being lured by gaiety, he got into action with his cheeks covered, drinking and dancing to spend the whole night.
Japanese: 賑やかさに誘われ、男も頬被りをして仲間に加わり、飲んだり踊ったりして一晩中過ごした。
English: At dawn the men and women went away, but he got tired and slept there.
Japanese: 夜明けに男女たちは去っていったが、男は疲れてその場で眠ってしまった。
English: A farmer found a cow crouching on a road, brought it to his own house, and put it into the cowshed.
Japanese: ある農夫が夜、道にうずくまっている牛を見つけ、自分の家へ連れ帰って牛小屋へ入れた。
English: Next morning when he looked into the cowshed, the cow had disappered and a rice paddle was placed on the top of the piled feed.
Japanese: 翌朝に小屋を覗くと牛の姿はなく、餌が積み上げられた上に飯笥が乗せられているだけだった。
English: A resident of the house opened the door to find nobody, but instead he saw a rice peddler fallen on the ground.
Japanese: 家人が扉を開けてみると、人の姿はなく、代わりに1本の飯笥が倒れていた。
English: Mokugyo-daruma is a Japanese specter included in a specter art collection book entitled "Hyakki Tsurezure Bukuro" by Sekien TORIYAMA and is the Tsukumo-gami of a Mokugyo (wooden fish, temple block).
Japanese: 木魚達磨（もくぎょだるま）は、鳥山石燕による妖怪画集『百器徒然袋』にある日本の妖怪で、木魚の付喪神。
English: It is drawn as daruma-like figure to which a Mokugyo has changed and in the explanation it is described as the same kind as Hossu-mori which is a specter of a Buddhist altar article like Mokugyo.
Japanese: 木魚が変化してだるま状になった姿として描かれており、解説文では木魚と同じ仏具の妖怪である払子守の同類とされる。
English: Mokugyo was originally made to tell the trainee monks to undergo sleepless training as a fish keeps its eyes open day and night.
Japanese: 木魚は本来、魚が昼夜問わず目を開けたままであることから、修行僧に対して不眠不休の修行を説くために作られたものである。
English: Also it is said that Bodhidarma who is the origin of Daruma's face underwent training without sleeping for nine years.
Japanese: また、だるまの顔の元となった達磨も、眠らずに9年間修行したと伝えられている。
English: Based on these, it is said that Mokugyo-daruma is a fictive specter drawn by synthesizing Mokugyo and Daruma under the theme of sleeplessness.
Japanese: それらのことから、不眠をテーマとして木魚とだるまを合成して描かれた創作妖怪とされる。
English: Nyoijizai is a Japanese specter included in a specter art collection book entitled "Hyakki Tsurezure Bukuro" by Sekien TORIYAMA and is a kind of the Tsukumo-gami (a specter changed from a utensil).
Japanese: 如意自在（にょいじざい）は、鳥山石燕による妖怪画集『百器徒然袋』にある日本の妖怪で、付喪神（器物が変化した妖怪）の一種。
English: Nyoi-butsugu' is a Buddhist altar article which looks like a magonote (backscratcher) and Nyoijizai specter was created by changing the Nyoi.
Japanese: 「如意仏具」とは僧侶の持つ孫の手のような仏具のことで、その如意が変化して生まれたのがこの妖怪とされる。
English: It is said to be a specter which scratches with a long arm and fingers the itchy spots just like the backscratcher does, but it also is said that, if one is not careful, one may be painfully hurt.
Japanese: 孫の手同様に長い腕と指で痒いところを掻く妖怪とされるが、油断すると爪で手痛い傷を負わされるともいう。
English: It is said that, since "Hyakki Yagyo Emaki" of the Muromachi period contains the drawing of a Nyoi flying in the sky, Sekien drew this specter based on the book just like many of Tsukumo-gami included in the "Hyakki Tsurezure Bukuro."
Japanese: 室町時代の『百鬼夜行絵巻』に如意が空を飛ぶ様子が描かれていることから、『百器徒然袋』中の多くの付喪神と同様、石燕がこれをもとにしてこの妖怪を描いたといわれる。
English: A konoshi is a kariginu robe on which a ran (horizontally-wrapped fabric forming the bottom part) similar to that of a ho (a round-necked robe) or a noshi (an unlined, long-sleeved garment) has been stitched.
Japanese: 小直衣（このうし）とは、狩衣に袍や直衣のような襴（らん）を縫い付けた衣服のこと。
English: It is also known as a kariginu noshi, kannoonzo (only when worn by a retired emperor) and sobatsugi (when worn by a daijinke (a minister)).
Japanese: 別名：狩衣直衣、甘御衣（かんのおんぞ/上皇のみ）、傍続（そばつぎ/大臣家）