nntsuzu/KFTT huggingface dataset:
English: Meanwhile, with the development of commerce and industry and the establishment of Gosonsei system (the self-governing system of coalitions of villages), a new style of culture developed among commercial and industrial workers in urban areas (Machishu) as well as peasants.
Japanese: いっぽう、商工業の発展や郷村制の成立にともなって、都市の商工業者（町衆）や農民のあいだにも新しい文化がうまれていった。
English: Among Sengoku daimyo, the Asakura clan in Echizen Province, the Imagawa clan in Suruga Province, and the Ouchi clan in Suo Province were particularly interested in culture.
Japanese: 戦国大名のなかでとくに学芸に関心の高かったのは越前国の朝倉氏、駿河国の今川氏、周防国の大内氏などであった。
English: Since the Ouchi clan accumulated wealth by the tally trade and adopted the culture of the continent, many priests, scholars, and court nobles including an artist monk, Sesshu, gathered at its castle town in Yamaguchi City, where a publishing business called "Ouchi printing" was also carried out.
Japanese: 大内氏の場合は、勘合貿易による富や大陸文化の摂取もあって、城下町の山口市には画僧雪舟をはじめ、多くの僧侶・学者・公家が集まり、「大内版」とよばれる出版事業もおこなわれた。
English: Renga (linked verse) was extremely popular among the warrior class; some linked-verse poets like Sogi wandered throughout the country, from Kyushu to the eastern part of Japan.
Japanese: 連歌は、武家の間でさかんにおこなわれ、宗祇のように九州から東国まで、諸国をめぐった連歌師もいた。
English: These linked-verse poets' pilgrimage to many lands contributed to the spread of culture among daimyo, samurai, and ordinary people.
Japanese: こうした連歌師の地方遍歴は大名・武士・庶民への文化の伝播のうえに大きな役割を果たした。
English: When Genju KEIAN, who returned from the Ming dynasty, traveled around Kyushu, he was invited by the Kikuchi clan in Higo Province and the Shimazu clan in Satsuma Province to give a lecture; and later, he established the Satsunan school (school of Neo-Confucianism in Satsuma).
Japanese: 桂庵玄樹は明から帰国したのち、九州を巡歴して肥後国の菊池氏や薩摩国の島津氏に招かれて講義し、のちに薩南学派を開いた。
English: In Tosa, Baiken MINAMIMURA, who lectured on Neo-Confucianism, became known as the founder of Nangaku (Neo-Confucianism in Tosa); in Hokuriku region, Nobutaka KIYOHARA lectured on Confucianism for various daimyo such as the Hatakeyama clan in Noto Province, the Takeda clan in Wakasa Province, and the Asakura clan in Echizen Province.
Japanese: 土佐でも南村梅軒が朱子学を講じて南学の祖といわれ、北陸地方でも清原宣賢が能登国の畠山氏、若狭国の武田氏、越前朝倉氏などの諸大名のもとで儒学を講じている。
English: Meanwhile, in the eastern part of Japan, Norizane UESUGI reestablished the Ashikaga Gakko (Japan's oldest academic institution) by adding a collection of books, so priests and warriors from all over the country gathered to learn.
Japanese: 一方、東国では上杉憲実が下野国足利市に足利学校の蔵書を充実させて再興し、全国の僧侶や武士が学問を学ぶために集まるようになった。
English: For the Ashikaga Gakko, the Gohojo clan in Odawara provided protection later; Francis Xavier, a missionary of the Society of Jesus, who propagated Christianity in Japan, described that "the Ashikaga Gakko is the biggest and most famous academy of Bando in Japan (the university of eastern Japan)."
Japanese: 足利学校に対しては、のちには小田原の後北条氏も保護を加えており、日本にキリスト教を伝えたイエズス会の宣教師、フランシスコ・ザビエルは「日本国中最も大にして最も有名な坂東のアカデミー（坂東の大学）」と記している。
English: Shukyu BANRI, a priest and a composer of Chinese-style poems, went down to Mino Province in the Onin War, and then left for Edo at Dokan OTA's invitation; he traveled all over the Kanto region, Echigo Province, and Hida Province.
Japanese: 漢詩僧の万里集九は応仁の乱で美濃国に下向したのち、太田道灌の招きで江戸に向かい、関東一円、越後国、飛騨国などを遍歴した。
English: In this period, local lords and local clans considered it indispensable to acquire skills of reading, writing, and arithmetic for the management of their territories.
Japanese: この時代は、地方の国人衆や土豪層においても所領経営のためには読み・書き・計算などが必要と考えられるようになった時代でもあった。
English: A growing number of land deeds were written by peasants, which means that literacy was widespread even among the commoner class.
Japanese: 農民が書いた土地証文などの数もしだいに増加し、文字が庶民層にまで広く普及するようになった。
English: "Teikin Orai" (Home Education Text Book), "Joe-shikimoku" (legal code of the Kamakura shogunate), and "Jitsugokyo" (a text for primary education) were widely used in shrines and temples as textbooks for the education of children of the warrior class.
Japanese: 『庭訓往来』や『貞永式目』、『実語教』は武士の子弟教育における教科書として寺院などで広く用いられていた。
English: It was in the Sengoku Period that the following books were published: "Setsuyoshu" (a Japanese-language dictionary in iroha order) written by Soji MANJUYA, and "Ishotaizen" (The Complete Book of Medicine), a medical book in Ming's language, translated by ASAI no Sozui, who was a merchant in Sakai City and a physician.
Japanese: 饅頭屋宗二によるいろは順引きの国語辞典『節用集』、また堺市の商人・医師であった安佐井野宗瑞によって明版の医書『医書大全』が飜訳・刊行されたのも戦国期であった。
English: Hachimanyama is one of "yamahoko" floats, or decorative floats, which are paraded through streets during the Gion Festival held in Kyoto City on the seventeenth of July.
Japanese: 八幡山（はちまんやま）は、毎年7月17日に京都市内で行われる祇園祭にて巡行する「山鉾」のひとつ。
English: The goshintai (object of worship housed in a Shinto shrine and believed to contain the spirit of a deity) of Hachimanyama is the Statue of Horse-riding Emperor Ojin, which is an equestrian statue said to be a work by Unkei, done in gold lacquering and enshrined in the shoshi (small shrine) which is placed on the float.
Japanese: 八幡山の御神体は応神天皇騎馬像で、運慶の作と云われる騎馬像に金箔を施し、お山の小祠に祀っている
English: San-shikishi is a collective term for the "Tsugi-shikishi" (spliced shikishi), "Sunshoan-shikishi," and "Masu-shikishi" (square shishiki) and is one of the best examples of "kana-gaki" (writing in kana, as opposed to Chinese characters) calligraphy from the Heian period.
Japanese: 三色紙（さんしきし）とは、『継色紙』、『寸松庵色紙』、『升色紙』の総称であり、平安時代屈指の「かな書」の名筆（古筆）である。
English: Since ancient times, the san-shikishi has been known as the "san-zetsu" (meaning unparalleled in poetry, calligraphy, and painting).
Japanese: 古来、三色紙は古筆中でも最高のものといわれ、和紙の三絶と称されている。
English: The "Tsugi-shikishi" has been attributed to ONO no Michikaze, KI no Tsurayuki for the "Sunshoan Shikishi" to KI no Tsurayuki, and the "Masu-shikishi" to FUJIWARA no Yukinari, but these are all refuted today and the authors remain unknown.
Japanese: 伝称筆者は、『継色紙』が小野道風、『寸松庵色紙』が紀貫之、『升色紙』が藤原行成とされてきたが、今日では否定され、筆者は不明である。
English: The time of their writing is also unknown, though the "Tsugi-shikishi" is believed to be from the mid-10th century to the first half of the 11th century and the "Sunshoan Shikishi" and "Masu-shikishi" from the second half of the 11th century.
Japanese: 書写年も未詳であるが、『継色紙』が10世紀半ばから11世紀前半、『寸松庵色紙』と『升色紙』が11世紀後半とされている。
English: Around the middle of the 10th century, kana arose as "sogana" (a cursive style of writing Chinese characters used for their phonetic value) developed into "onnade" (hiragana syllabary) and the "Tsugi-shikishi" is written in sogana.
Japanese: 10世紀半ばは、かなが日本の書道史草仮名から日本の書道史女手へ発展する頃で、『継色紙』では草仮名が使われている。
English: Then, during the time of FUJIWARA no Yukinari and FUJIWARA no Michinaga, 'kana-gaki' flourished and poems such as "Koya-gire" were produced.
Japanese: それから、藤原行成や藤原道長の時代に「かな書」は全盛期を迎え、『高野切』などが生まれた。
English: "Sunshoan Shikishi" and "Masu-shikishi" appeared around the beginning of the cloister government, which was a little later.
Japanese: 『寸松庵色紙』と『升色紙』はそれより少し後の院政を迎えるころになる。
English: Each piece of paper contains one waka poem, though the beginning and end of the lines are not aligned.
Japanese: 和歌1首が1枚の紙面に数行で書かれているが、各行の行頭の位置が違い、行末の位置も一定しない。
English: None of the lines are straight, with many tilting towards the lower right.
Japanese: 個々の行もまっすぐには書かれておらず、行頭から行末にかけて右下方向へ傾いている例が多い。
English: Spacing between the lines is inconsistent and even in the "Sunshoan Shikishi," which is written with comparatively even spacing, the last line appears to trying to cuddle up to the previous line.
Japanese: 行間幅も不定で、比較的行間隔を揃えて書かれた『寸松庵色紙』でも、最終行が前の行に寄り添うように接近する例がある。
English: Furthermore, there are no rules governing line breaks; in one example the line is broken even though there is enough space left in the lower part, and in another, the break disrupts the flow of meaning and the cohesiveness of the words.
Japanese: さらに改行にも法則性が見い出せず、下部にまだ十分なスペースが残っているのに改行する例、歌の意味の流れや語彙のまとまりに背いて改行される例などがある。
English: In the "Masu-shikishi," the lines go from right to left and then the last line is written to the right of the first line.
Japanese: 『升色紙』においては、右から左へ行が進行した後、最後の行が書き始めの行より右に戻って書かれている。
English: Also in the "Masu-shikishi," one line is written over the preceding line.
Japanese: また、同じく『升色紙』において、一度書いた行の上に、次の行を重ねて書いている例もある。
English: In works representative of Tang dynasty period China, such as Ouyang Xun's "Jiu Cheng Gong Li Quan Ming," Yu Shinan's "Kong Zi Miao Tang Bei," and Chu Suiliang's "Yan Ta Sheng Jiao Xu," the start and end points of the lines and their position left and right are always aligned and the lines are written straight, in contrast to the uneven 'chirashi-gaki' style described above.
Japanese: 中国唐を代表する『欧陽詢九成宮醴泉銘』・『虞世南孔子廟堂碑』・『チョ遂良雁塔聖教序』などの作品は、行頭・行末を揃え、左右の文字の位置を揃え、行をまっすぐに書いており、上述の「散らし書き」といかに対照的な書字法であるかが分かる。
English: The following passage appears in the "Suetsumuhana" (Safflower) chapter in "The Tale of Genji," 'as for the handwriting, the characters are surely strongly written, but the skill is mediocre, and both the top and bottom are written aligned.
Japanese: 『源氏物語』末摘花(源氏物語)の巻の中で、「手は、さすがに文字つよう、中さだのすぢにて、上下ひとしく書い給へり。
English: As can be seen from the above, since letters written with lines of equal length and height were considered behind the times, 'chirashi-gaki' was being used even in daily letters in the second half of the 10th century.
Japanese: と、行の長さや高さをそろえて書いた手紙を時代後れとしているように、10世紀後半には日常の手紙でも「散らし書き」が使われていた。
English: Straight lines and uniform sizes create beauty possessed of a sense of unity.
Japanese: まっすぐに並んだものや大きさを揃えたものは、統一感のある美をもたらす。
English: It takes hard work to make characters the same size, to align starting positions, to have even spaces between characters, to write in a straight line, and to have even spaces between lines.
Japanese: それゆえ、文字の大きさを揃え、書き出しの位置を揃え、文字の間隔を揃え、まっすぐに1行を書き、行の間隔を揃えるために苦心する。
English: In "Sho-no-Shinen" (The Chasm of Books), Kotaro TAKAMURA says, 'I have never seen beauty in the abstract lines of foreigners equal to the beauty in one line of Heian period kana-gaki.' (excerpt)
Japanese: 高村光太郎は『書の深淵』の中で、「わたくしはまだ、一行の平安朝仮字書きの美に匹敵する外国人の抽象的線美を見たことがない。（抜粋）」
English: He praises Heian period 'kana-gaki' a great deal like this, but what makes the unaligned 'kana-gaki' beautiful?
Japanese: と言って、平安朝の「かな書」を絶賛しているが、なぜこのような不揃いの「かな書」が美しいと感じられるのだろうか。
English: The postwar so-called kana-gaki experts have classified 'the beauty of kana-gaki' as including 'chirashi-gaki,' 'the beauty of renkin-yushi' (gracefully-linking threads), 'the beauty of blank space,' 'the beauty of contrasting density,' like a mosaic, but this hardly gives us an answer.
Japanese: 戦後のいわゆる「かな書家」が、「散らし書き」・「連綿遊糸の美」・「余白の美」・「濃淡の美」等と「かな書の美」をモザイク的に分類しているが、ほとんど解答を得られない。
English: For the "Sunshoan-shikishi," Suiken SUZUKI says, 'in the flavor of its strokes and excellent continuity of its lines, there is no equal in ancient calligraphy.
Japanese: 鈴木翠軒は『寸松庵色紙』について、「線条の味と連綿の妙は、古筆中この右に出るものはない。
English: It is dashed off at will and goes where the brush goes, but without becoming manic.
Japanese: 意の向うところ、筆のゆくまま一気に書き流してはあるが、少しも軽躁の幣に陥っていない。
English: For the "Tsugi-shikishi," 'the quality, streaks, and continuity of its lines do not come up to those of the "Sunshoan Shikishi," but its chirashi-gaki style is unique and it cannot be deemed inferior.' (excerpt)
Japanese: と述べ、『継色紙』については、「線質・線条・連綿は『寸松庵色紙』に及ばないが、散らし方は独特で劣るとは思えない。（抜粋）」
English: As for the "Masu-shikishi," 'a good reference for studying chirashi-gaki, but inferior to the "Sunshoan-shikishi" and "Tsugi-shikishi".' (excerpt)
Japanese: とし、『升色紙』については、「散らしの研究にはよい参考になるが、『寸松庵色紙』、『継色紙』より劣る。（抜粋）」
English: He also harshly criticized the three styles of the most well known version of the "Koya-gire" and this proves that he held the San-shikishi, especially the "Sunshoan-shikishi," in high esteem.
Japanese: そして古筆中、最も著名な『高野切第一種・第二種・第三種』に対しては酷評しており、三色紙、特に『寸松庵色紙』の評価が極めて高いことが分かる。
English: The "Tsugi-shikishi" was originally a booklet bound in the decchoso style and containing poems from works such as the "Kokin Wakashu" (A Collection of Ancient and Modern Japanese Poetry), "Manyoshu" (Collection of Ten Thousand Leaves), with one poem written across two pages which are made of thick 'tori no ko' paper that is dyed various colors including purple, indigo, brown and green.
Japanese: 『継色紙』（つぎしきし）は、もと粘葉装の冊子本で、多くの場合2ページにわたり、『古今和歌集』・『万葉集』などの歌を、紫、藍、赭、緑などに染めた襖鳥の子物語に1首ずつ書写している。
English: Now fragments of the book are bound together as if two pieces of shikishi were tied together to complete one piece of waka, thereby earned it's name.
Japanese: 現在はその本の断簡が軸に仕立てられ、1首完結するためにあたかも色紙2枚を継いだ形となりこの名がある。
English: In "Utsuho Monogatari" (The Tale of the Cavern), sogana, which is described as 'neither manyo-gana (the use of Chinese characters for their phonetic value), nor onnade,' is skillfully mixed with onnade in an extremely natural way and also uses unusual characters, which are not seen in the later jodaiyo kohitsu.
Japanese: 『うつほ物語』に「万葉仮名にもあらず、日本の書道史女手にもあらず」と記された草仮名が、極めて自然な形で女手と巧みに交用され、また、「悪（あ）」・「盈（え）」・「祈（き）」・「倶（く）」・「致（ち）」・「帝（て）」・「廬（ろ）」など、後世の上代様古筆には余り見慣れない珍しい文字字母が使用されている。
English: Its calligraphy is elegant and full of feeling; the truly magnificent chirashi-gaki makes superb use of spaces with margins, gaps between characters and lines, and excellent slanting and sumi-tsugi (adding sumi-ink in the middle of characters).
Japanese: その書風は情感あふれた優美なもので、余白と点画・行の間隔や傾き・墨継ぎの妙など、心憎いばかりの空間処理で、実に見事な散らしである。
English: Effortlessly rising and falling, the poems seem to be written in four or five lines, but the use of width, height and shading is excellent.
Japanese: 何の苦もなく高低をつけ、4〜5行に書いているように見えながら、広狭浮沈・濃淡などのうまさがある。
English: Kana,' which retained the ink brush used for Chinese character, established a refined mental state and is an extremely elegant piece of work.
Japanese: 漢字的用筆の残った「かな」は枯淡の境地を成立せしめ、極めて格調の高い作品である。
English: The incomplete book of sixteen waka poems and a half were transmitted to the Maeda family in Daishoji-cho, Ishikawa Prefecture until 1906, but now one from unknown source, twenty-seven included in "Kokin Wakashu," and six in "Manyoshu" are the confirmed waka poetry of "tsugi-shikishi."
Japanese: 明治39年（1906年）までは石川県大聖寺町の前田家に16首半の零本（完全でない本）が伝えられ、現在確認される『継色紙』の和歌は、1首が出典未詳のほかは、『古今和歌集』所収歌が27首、『万葉集』所収歌が6首である。
English: The size is 13.1cm to 13.3cm tall and 25.0cm to 26.4cm across.
Japanese: 大きさは、縦13.1cm〜13.3cm、横25.0cm〜26.4cm。
English: They are in the possession of Tokyo National Museum, the Gotoh Museum, Tokugawa Art Museum, Hatakeyama Memorial Museum of Fine Art, Yuki Museum of Art, Itsuo Art Museum, MOA Museum of Art, Fujita Museum of Art, Idemitsu Museum of Arts, and others, as well as various families.
Japanese: 所蔵は、東京国立博物館、五島美術館、徳川美術館、畠山記念館、湯木美術館、逸翁美術館、MOA美術館、藤田美術館、出光美術館ほか、諸家分蔵。
English: The "Sunshoan-shikishi" contains waka poetry from the "Kokin Wakashu" relating to the four seasons and was originally a decchoso-style booklet but was divided, giving it a shikishi-like form.
Japanese: 『寸松庵色紙』（すんしょうあんしきし）は、『古今和歌集』四季の歌を抜き書きしたもので、もと粘葉装冊子であったが、分割され色紙形になった。
English: This name comes from the fact that it used to be in the possession Sunsho-an, the teahouse of tea master Sanekatsu SAKUMA, who was a vassal of Nobunaga ODA.
Japanese: 織田信長の家臣で茶道の佐久間実勝の仏塔塔頭寸松庵の旧蔵であったことからこの名がある。
English: This hermitage was built in the precincts of Ryuko-in in Daitoku-ji Temple (Kita Ward, Kyoto City) and given the name of Sunsho-an (small pine hermitage) because small pine trees were planted all over the front garden.
Japanese: この庵は大徳寺龍光院(京都市北区)の境内に築かれ、前庭一面に小松を植えていたので寸松庵と名付けられた。
English: The shikishi were originally at Nanshu-ji Temple in Izumi Province, but Sanekatsu obtained 12 of them from Mitsuhiro KARASUMARU via Sogan KOGETSU and made them into a book, adding kinji senmen-ga (gold-background picture) that depicted the meanings of the poems to each piece.
Japanese: 色紙はもと和泉国南宗寺に存したが、将監がその内の12枚を江月宗玩を介して烏丸光広から入手し、1枚ごとにその歌意を描いた金地扇面画を添えて帖に仕立てた。
English: Karakami (imported Chinese paper) is used and the colors include white, light blue, reddish yellow, and light brown, in all of which grains are put with a wide variety of patterns.
Japanese: 中国渡来の唐紙（からかみ）を用いており、色は白、薄縹、黄丹、薄茶などで、何れも布目が打たれ、文様も変化に富んでいる。
English: There are two main types of chirashi-gaki, one where it is separated into upper and lower or right and left parts and the other where four or five lines are written broader in the upper part and narrower in the lower part like the bones of a fan.
Japanese: 散らし方に大体2通りあり、1つは上下または左右に2段に分けて散らしたもの、1つは4行または5行を扇の骨のように上を広く下を狭く書いている。
English: The latter is particular to the "Sunshoan-shikishi" and shows indescribable composure in a simple naturalness.
Japanese: 後者の散らし方は『寸松庵色紙』独特のもので、素朴な自然さの中に何とも言えぬ落ち着きを見せている。
English: The length is 12.9cm to 13.3cm and the width is 12.3cm to 12.8cm.
Japanese: 大きさは、縦12.9cm〜13.3cm、横12.3cm〜12.8cm。
English: About 40 pieces still exist and they are in the possession of Tokyo National Museum, Nomura Art Museum, the Gotoh Museum, Hatakeyama Memorial Museum of Fine Art and Yuki Museum of Art amongst others, as well as in various private collections.
Japanese: 約40枚が現存し、所蔵は、東京国立博物館、野村美術館、五島美術館、畠山記念館、湯木美術館ほか、諸家分蔵。
English: "Masu-shikishi" was a booklet containing copies of a collection of KIYOHARA no Fukayabu's poems which was later divided and given this name due to the square shape of the paper.
Japanese: 『升色紙』（ますしきし）は、清原深養父の歌集を書写した冊子本であったが、後に分割され、料紙の升の形からこの名がある。
English: The types of paper used include white torinoko paper, pale indigo paper, dyed paper, and kumo-gami paper (a type of torinoko which has blue cloud patterns in the upper part and purple ones in the lower part), and all of them are sprinkled with mica, giving them a refined look.
Japanese: 料紙は鳥の子の白紙、淡藍紙、染紙、雲紙などを用いているが、すべて雲母が蒔かれていて高雅である。
English: The characters flow smoothly with no interruptions and are composed of some of the thinnest, most graceful lines in ancient calligraphy; the beauty of the chirashi-gaki is outstanding.
Japanese: 文字は宛転して滞るところがなく、古筆の中で最も細く品のよい線が用いられ、散らしの美しさも優れている。
English: The fuller lines have a truly seductive air, and the sumi-tsugi, which brings out changes in shading, together with the technique of interweaving thick and thin lines make this Shikishi stand out.
Japanese: 線がふっくらとして実に艶美な感じを与えるが、濃淡の変化の際立った墨つぎと、太い線と細い線を絡ませてゆく技巧とが、この色紙に一段と精彩を添えている。
English: The high-quality calligraphy of 'kana-gaki' written from the Heian period to the Kamakura period is known as ancient calligraphy, but that of the Heian period, when it started, differed from that of the post-Kamakura period.
Japanese: 平安時代から鎌倉時代にかけて書かれた「かな書」の名筆を古筆というが、その出発点となった平安時代の古筆は鎌倉以後のものとは書風が異なり区別される。
English: Heian court ancient calligraphy is divided, based on style on lineage, into the 'developmental period' (masculine style calligraphy), the 'complete period'' (classic style calligraphy), the 'mature period' (romantic style calligraphy), and the 'transitional period' (individual style and straightforward style calligraphy).
Japanese: この平安朝古筆を同筆・同系統で分類すると、「発展期の古筆」（男性的書風）、「完成期の古筆」（古典主義的書風）、「爛熟期の古筆」（ロマン主義的書風）、「移行期の古筆」（個性的書風と直截的書風）に分けることができる。
English: Ancient calligraphy up to the complete period is usually called jodaiyo and, because it represents classic calligraphy, it is still used today as a model by many learners.
Japanese: その完成期までの古筆は特に上代様と称され、今日に至ってもかな書道古典の代表として多くの学書者の手本とされている。
English: San-shikishi belongs to this jodaiyo, with the "Sunshoan-shikishi" and the "Masu-shikishi" placed in the complete period.
Japanese: 三色紙はこの上代様に属し、『寸松庵色紙』と『升色紙』は完成期に位置する。
English: The "Tsugi-shikishi" is placed between the developing and complete period, but is included in the developing period here.
Japanese: 『継色紙』は発展期と完成期の中間に位置するが、ここでは発展期に含める。
English: This can be found in texts copied in the Sogana style of calligraphy at the end of the 10th century and are represented by texts descended from ONO no Michikaze's "Akihagi-jo."
Japanese: 10世紀末ごろの書写と見られる日本の書道史草仮名の遺品であり、『小野道風秋萩帖』の系統に代表される。
English: However, this was also the period when onnade was at it's height and works such as "Shihai-monjo Inaba no Kokushi no Gean Shihai Kana Shosoku" and "Shihai-monjo Koku-zo Bosatsu Nenju Shidai Shihai Kana Shosoku" were being written daily.
Japanese: しかし、このころ既に、『紙背文書因幡国司解案紙背仮名消息』や『紙背文書虚空蔵菩薩念誦次第紙背仮名消息』など日本の書道史女手の完成を示す文書類が日常に書かれており、女手の全盛期といえる。
English: Handwriting researcher Kiyoshi WATABE wrote that the reason sogana was used at such a time is 'it may have been used for the original and just been copied, or copied from a little older calligraphic style with more formal attitude.'
Japanese: このような時期に草仮名が用いられた理由について筆跡研究家の渡部清は、「原本が草仮名であったため同じような書体で書写したか、あるいは少し改まった態度でやや古い書体を用いて書写したということであろうか」と記している。
English: An excellent piece of chirashi-gaki that uses a mix of sogana and onnade; an elegantly simple calligraphy that is closer to the complete period style.
Japanese: 草仮名と女手の交用による散らし書きの優品で完成期に近い枯淡の書である。
English: Ancient calligraphy of the complete period, considered to be works copied down from the mid- to late 11th century, is known as an archetypal kana to which the words of elegant and graceful can be applied and in which intensity remains in the background.
Japanese: 11世紀半ばから後半の書写と考えられる完成期の古筆は、かなの典型ともいえ、優雅、典雅という言葉があてはまり、激しさを表にすることがない。
English: Furthermore, variations in character shape are poorer than in the ancient calligraphy of the mature period, but the lines are full of intensity and tension.
Japanese: また、字形の変化も後の爛熟期の古書に比べて乏しいが、線に、そして連綿線にこめられた厳しさ、緊張感は抜群である。
English: The "Sekidobon kokinshu" lineage, in comparison to those of the "Koya-gire," has more variations in inflection, strongness and weakness, and lightness and heaviness, and freedom.
Japanese: 『関戸本古今集』系統は、『高野切』の書風より抑揚、強弱、軽重等の変化、そして自由さを増した書風である。
English: Oharame refers to the women who came from Ohara, Yamashiro Province (Kyoto City) (Ohara, Sakyo Ward, Kyoto City, Kyoto Prefecture) to sell firewood in the capital Kyoto by placing the firewood on their heads.
Japanese: 大原女（おはらめ）とは、山城国大原(京都市)（京都府京都市左京区大原）の女子が薪を頭に載せて京の都で売ることをさす。
English: As a custom, oharame did the hair in Shimada-mage (a Japanese hairstyle with a knot for a woman in olden times) style and covered it with tenugui cotton towel, placed firewood on the head, had Ohaguro teeth (black painted teeth), and wore dark-blue Tsutsusode (kimono with tubular style of sleeve) with white habaki (cloth to wrap around one's shins), along with zori (Japanese footwear sandals) having double-cloth straps.
Japanese: その風俗は、島田髷に手拭を被り、薪を頭上に載せ、鉄漿をつけ、紺の筒袖で白はばきを前で合わせ、二本鼻緒の草鞋を履いている。
English: Since oharame is well known as fubutsushi (a poetic expression for certain events or things) of Kyoto, it is mentioned in works of contests of craftspeople in the medieval period such as ''Tohokuin Shokunin Zukushi Uta-awase" (Poetry Contest of Craftspeople of Tohokuin Temple)' and "Shichiju-ichi-ban Shokunin Uta-awase" (Poetory Contest Among People of Various Occupations in Seventy-one Rounds), and it also appears in Kyogen (farce played during a Noh cycle) and dance performances.
Japanese: 京都の風物詩として著名で、「東北院職人尽歌合」や「七十一番職人歌合」など中世の職人歌合において記され、狂言・舞踏にも登場する。
English: Although its main purpose today is to write wishes on as a part of the Tanabata festival (the star festival celebrated on the seventh of July), actually thick and decorated pieces of paper, on which tanka and haiku poems are written, are also a kind of tanzaku.
Japanese: しかし、現代では願い事を書く目的で七夕の行事の一環として用いることがほとんどであるが、実は短歌や俳句を詠むための分厚く装飾が施されたものも短冊の一種である。
English: Hikime-kagibana is a typological and stylized description technique for the eyes and nose of a person's face, used in the Yamato-e paintings (traditional Japanese style painting of the late Heian and Kamakura periods dealing with Japanese themes) and fuzokuga (pictures of manners and customs) during the Heian and Kamakura periods.
Japanese: 引目鉤鼻（ひきめかぎばな）は、平安時代、鎌倉時代の大和絵、風俗画におけるヒトの顔の眼および鼻の類型的、様式的な描写技法である。
English: The closed eyes are drawn in black ink as narrow lines, and the external nose, which is flat, is drawn in a short shape of the Japanese letter "く".
Japanese: つむった眼は細長い墨線ひとすじで、低い外鼻は短い「く」の字形である。
English: Other characteristics include the face line being shimo-bukure (a face line with lower parts of the face full-fleshed) and the mouth drawn as a red, small dot.
Japanese: また、顔の輪郭はしもぶくれで、口唇は赤い小さな点であるのも特徴とされる。
English: Early examples of hikime-kagibana can be found in the Shotokutaishi-Eden (Illustrated Biography of Prince Shotoku) in Horyu-ji Temple; good examples include persons in the Genji Monogatari Emaki (the Illustrated Handscroll of the Tale of Genji) and in the designs of the Senmen Koshakyo (Ancient Sutra Manuscripts on a Fan).
Japanese: 法隆寺の聖徳太子絵伝にその初期の例を見ることができ、源氏物語絵巻、扇面古写経の下絵の人物などが好例である。