nntsuzu/KFTT huggingface dataset:
English: The date of the festival was decided to be the day Emperor Kanmu was believed to enter Kyoto, on October 22, therefore, it is the birthday of Kyoto, the city that he decided to become the capital after moving from Nagaoka-kyo (the ancient capital of Nagaoka).
Japanese: 開催日も桓武天皇が長岡京から都を移し新しい都に入ったとされる日、すなわち京都の誕生日とも言える10月22日となった。
English: The festival starts on October 15, with the Sanyaku Senjosai ceremony (whereby the roles in the procession are declared), and ends with the closing ceremony held on October 23.
Japanese: 祭り自体は10月15日の参役宣状祭（行列の役柄任命）から、23日の後日祭までの期間行われる。
English: The procession consists of performers who are dressed and have instruments and objects, forming18 sections representing seven periods, starting with the Meiji Restoration, followed by Edo, Azuchi-Momoyama, Yoshino, Kamakura, Fujiwara periods, ending with the Enryaku era.
Japanese: 行列は7つの時代、18の列でそれぞれに時代を再現した衣装や道具を身につけた人々で行われ、最初は明治維新、ついで江戸時代、安土桃山時代、吉野、鎌倉時代、藤原、延暦と時代を遡って続く。
English: The drum and bugle corps for the procession of Meiji Restoration and Restoration royalists, which are in the forward part of the Jidai procession, are conscripted army of farmer loyalists, Yamaguni platoon used to be composed of actual veterans from the first festival in 1895 to sometime in the Taisho period.
Japanese: 行列前方、明治維新・維新勤王隊列の鼓笛隊は官軍の山国隊で、明治28年の第1回から大正時代までは生存していた元隊士が行列に参加していた。
English: There used to be only the 'Yoshino era' procession, which represents only the early Muromachi period; the procession for the Muromachi period had been added to the Jidai procession as of 2007, after having been reviewed at the opportunity of the 1200 Anniversary of the demise of Emperor Kanmu.
Japanese: 室町時代ではなく「吉野時代」列であったが、平成19年（2007年）より桓武天皇1200年記念大祭を機に室町時代列が新たに行列に加わった。
English: It proceeds along Marutamachi-dori street and southward on Karasuma-dori street, then moves through the center of Kyoto City, from Oike-dori street to Kawaramachi-dori street, and Sanjo-dori street, heading north on Jingu-dori street to return to Heian-jingu Shrine.
Japanese: 丸太町通から烏丸通に入り南下、御池通、河原町通と京都の中心部を練り歩き、最後は三条通から神宮通に入って平安神宮に至る。
English: The meaning 'wabi,' the noun form of the verb 'wabu,' is better understood from its adjective form 'wabishii' (wretched); that is, it means 'an inferior state as opposite to splendor.'
Japanese: 侘（わび、侘びとも）とは、動詞「わぶ」の名詞形で、その意味は、形容詞「わびしい」から容易に理解されるように「立派な状態に対する劣った状態」となる。
English: Originally it was not a good concept, however, by an influence of the Zen sect and so on, it was regarded favorably and taken as a sense of beauty.
Japanese: 本来は良い概念ではなかったが、禅宗の影響などもあってこれが積極的に評価され美意識の中にとりこまれていった。
English: It is said that there have been descriptions concerning wabi since the ancient days of the Manyoshu (Ten Thousand Poems), but the term 'wabi' as a conceptual noun representing a sense of beauty first appeared in "Nanporoku," the tea book during the Edo period; before above, the expression 'soso' (coarse) was used in close meaning, however, it is difficult to say that they are necessarily synonymous since SEN no Rikyu disliked 'soso.'
Japanese: 侘に関する記述は古く万葉集の時代からあると言われているが、「侘」を美意識を表す概念として名詞形で用いる例は江戸時代の茶書『南方録』まで下り、これ以前では「麁相」（そそう）という表現が近いが、千利休などは「麁相」であることを嫌っていたから必ずしも同義とは言い難い。
English: The top is rough, and the bottom is conscientious' (Even if the surface is a disaster, the inside should be in a polite way) (YAMANOUE no Soji ki (book of secrets written by YAMANOUE no Soji, best pupil of SEN no Rikyu, a great tea master)).
Japanese: 「上をそそうに、下を律儀に（表面は粗相であっても内面は丁寧に）」（山上宗二記）。
English: To stretch a point, it becomes a concept that 'quality is high although price is not.'
Japanese: 強いて言えば「priceは高くないが、qualityは高い」という概念になろうか。
English: In the tea ceremony, it is not only the coarseness in 'wabi,' but also excellent quality (aesthetics) is requested.
Japanese: 茶の湯では「侘」の中に単に粗末であるというだけでなく質的に（美的に）優れたものであることを求めるようになったのである。
English: A man of wabicha is in other words 'a person who doesn't have even one thing, except the preparation, a product, and high achievement' (YAMANOUE no Soji ki).
Japanese: 侘び茶人、つまり「一物も持たざる者、胸の覚悟一つ、作分一つ、手柄一つ、この三ヶ条整うる者」（宗二記）のことを指していた。
English: When it became the time of SEN no Sotan, the character of 'wabi' has come to express a person with not even one possession.
Japanese: 後の千宗旦の頃になると「侘」の一字で無一物の茶人を言い表すようになる。
English: As it is said 'Soeki's secrets are kohita, taketa, wabita (subtle taste), ureta (sorrow), toketa, hanayakani (floridly), monoshiri (knowledgeable), sakusha (author), hanagurumani (flower car), and tsuyoku (powerful); and those who mastered in these ten secrets are taken as qualified, but five of them are not for the beginners,' 'wabita' was only one of the numerous key words used in tea ceremony; it is not a stage at which a beginner should aim, rather, it was assumed a stage that was able to be aimed at for the first time with the tea worn to the learning body in general.
Japanese: 「宗易愚拙ニ密伝‥、コヒタ、タケタ、侘タ、愁タ、トウケタ、花ヤカニ、物知、作者、花車ニ、ツヨク、右十ヶ条ノ内、能意得タル仁ヲ上手ト云、但口五ヶ条ハ悪シ業初心ト如何」とあるから｢侘タ」は、数ある茶の湯のキーワードの一つに過ぎなかったし、初心者が目指すべき境地ではなく一通り茶を習い身に着けて初めて目指しうる境地とされていた。
English: However, because Soji was evaluating 'wabisuki,' it was evaluated that men of wabi tea were familiar with tea, and that before long 'wabi' was quietly brewed as a prop that supports the spirit of the tea ceremony.
Japanese: ただし宗二は「侘び数寄」を評価しているから、侘び茶人が茶に親しむ境地も評価され、やがて茶の湯の精神を支える支柱として「侘び」は静かに醸成されていったのである。
English: Although wabi was made a theory in tea ceremony, the term 'wabicha' first appeared during the Edo period.
Japanese: 侘は茶の湯の中で理論化されたが、「わび茶」という言葉が出来るのも江戸時代である。
English: Especially during the Muromachi period, contrary to the trend of respecting expensive 'karamono' (things imported from China), Juko MURATA arranged a tea ceremony with coarser and more ordinary tools, at the same time, it became popular among the merchant class of Sakai City which was represented by Shoo TAKENO and SEN no Rikyu.
Japanese: 特に室町時代の高価な「唐物」を尊ぶ風潮に対して、村田珠光はより粗末なありふれた道具を用いる茶の湯を方向付け、武野紹鴎や千利休に代表される堺市の町衆が深化させた。
English: Since there is no literary record of how they mentioned about 'wabi,' we can only infer from the items they liked about the wabi style formed at that time.
Japanese: 彼らが「侘び」について言及したものがないから、彼らが好んだものから当時醸成されつつあった侘びについて探るより他ない。
English: Tearooms were reinforced fast with an atmosphere of wabi; covered walls were replaced with earthen walls showing straw as to follow how a private house looked like, the tokonoma (special alcove for display of art objects) of approximately 1.8 meters wide became diminished to 1.5 meters or 1.2 meters and painted flooring frame also became raw wood with knots.
Japanese: 茶室はどんどん侘びた風情を強め、張付けだった壁は民家に倣って土壁になり藁すさを見せ、6尺の床の間は5尺、4尺と小さくなり塗りだった床ガマチも節つきの素木になった。
English: They discovered new beauty in daily pottery tried to incorporate it into the tea ceremony and their attitudes were also along the same line with the thought of 'mingei' (folkcraft) started later by Muneyoshi YANAGI.
Japanese: 日常雑器の中に新たな美を見つけ茶の湯に取り込もうとする彼らの態度は、後に柳宗悦等によって始められた「民芸」の思想にも一脈通ずるところがある。
English: During the Edo period, the fundamental sense of beauty of tea ceremony became established and even apocryphal books emerged such as "Shoo Wabi no Bun" (Shoo essay on wabi) defining wabi as 'honestly and prudence,' and "Nanporoku" which described wabi as 'Buddha's world of purity.'
Japanese: 江戸時代に多くの茶書によって茶道の根本美意識と位置付けられるようになり、侘を「正直につつしみおごらぬ様」と規定する『紹鴎侘びの文』や、「清浄無垢の仏世界」とする『南方録』などの偽書も生み出された。
English: Moreover, in the Taisho period and the Showa period items and utensils used in the tea ceremony were evaluated as art work and tea spread and became a word associated with showing the beauty of form and shape.
Japanese: また大正・昭和になって茶道具が美術作品として評価されるに伴い、その造形美を表す言葉として普及した。
English: It was frequently used when Muneyoshi YANAGI, Shinichi HISAMATSU and so on, praised the beauty of Korean Tea Bowls.
Japanese: 柳宗悦や久松真一などが高麗茶碗などの美を誉める際に盛んに用いている。
English: In "The Book of Tea" by Tenshin OKAKURA, the expression of "imperfect" was often used to represent wabi, and it was made known to the world through it.
Japanese: 岡倉天心の著書TheBookofTea（『茶の本』）の中では“imperfect”という表現が侘をよく表しており、同書を通じて世界へと広められた。
English: Sabi is the noun form of the verb 'sabu,' and originally means the deteriorated state over the passage of time (secular distortion).
Japanese: 寂（さび、寂びとも）は動詞「さぶ」の名詞形で、本来は時間の経過によって劣化した様子（経年変化）を意味している。
English: A substitute Chinese character '寂' (sabi) was then attached that means a tranquil state without people.
Japanese: 転じて漢字の「寂」が当てられ、人がいなくなって静かな状態を表すようになった。
English: Similarly, for 'rust' that appears on the surface of metal, the Chinese character '錆' (sabi) was applied.
Japanese: 同様に金属の表面に現れた「さび」には、漢字の「錆」が当てられている。
English: It was quoted as being similar to the beauty of patina (green corrosion) in English, and the atmosphere that green corrosion and so on creates is expressed as patina.
Japanese: 英語ではpatina（緑青）の美が類似のものとして挙げられ、緑青などが醸し出す雰囲気についてもpatinaと表現される。
English: Originally it was not a good concept, however, in "Tsurezuregusa" (Essays in Idleness), there was a description thought to deeply appreciate a book that became old and it has been verified that around this time the meaning of discovering the beauty of an antiquated state arose.
Japanese: 本来は良い概念ではなかったが、『徒然草』などには古くなった冊子を味わい深いと見る記述があり、この頃には古びた様子に美を見出す意識が生まれていたことが確認される。
English: During the Muromachi period, it became treasured as important especially in the world of haikai (seventeen-syllable verse) and was even incorporated into the Noh music, and so on, and was systematized into theory.
Japanese: 室町時代には特に俳諧の世界で重要視されるようになり、能楽などにも取り入れられて理論化されてゆく。
English: In haiku since Basho MATSUO, it became the central sense of beauty, however, seldom did Matsuo himself talk or write directly about the elegant simplicity of sabi.
Japanese: さらに松尾芭蕉以降の俳句では中心的な美意識となるが、松尾本人が寂について直接語ったり記した記録は非常に少ないとされる。
English: The elegant simplicity of sabi in haikai is a common characteristic especially among old things and elderly persons and according to Torahiko TERADA, it oozes out from the inside of something old and is a beauty that doesn't relate to the exterior, and so on.
Japanese: 俳諧での寂とは、特に、古いもの、老人などに共通する特徴のことで、寺田寅彦によれば、古いものの内側からにじみ出てくるような、外装などに関係しない美しさのことだという。
English: Stones that no one moves grows moss on the surface and become green in the climate in Japan.
Japanese: 誰も動かさない石は、日本の風土の中では表面にコケが生え、緑色になる。
English: Because it is an attitude of seeking beauty from an antiquated state, it is deeply related to antiquarianism (taste for collecting items).
Japanese: このように古びた様子に美を見出す態度であるため、骨董趣味と関連が深い。
English: For instance, while there are different features seen in British antiques, and so on, there are also some things in common.
Japanese: たとえば、イギリスなどの骨董（アンティーク）とは、異なる点もあるものの、共通する面もあるといえる。
English: While the elegant simplicity of sabi places more emphasis on the action of nature, antiques in the West emphasize the historical respects.
Japanese: 寂はより自然そのものの作用に重点がある一方で、西洋の骨董では歴史面に重点があると考えられる。
English: Aoi Matsuri (formally known as Kamo Matsuri) is an annual celebration that takes place at Kamomioya-jinja Shrine (Shimogamo-jinja Shrine) and Kamowakeikazuchi-jinja Shrine (Kamigamo-jinja Shrine) in Kyoto City on May 15 (the middle day of Cock day of lunar calendar).
Japanese: 葵祭（あおいまつり、正式には賀茂祭）は、京都市の賀茂御祖神社（下鴨神社）と賀茂別雷神社（上賀茂神社）で、5月15日（陰暦四月の中の酉の日）に行なわれる例祭。
English: While the Gion Festival is a festival for the general public, it is one of sanchokusai (three great festivals designated by Japan's imperial court), together with the festivals of Iwashimizu Hachimangu Shrine and Kasuga Taisha Shrine, and it became an event of the Kamo clan and the Imperial court which court nobles visited and enjoyed, and it then became a festival for the court nobles.
Japanese: 石清水八幡宮、春日大社と共に三勅祭の一つであり、庶民の祭りである祇園祭に対して、賀茂氏と朝廷の行事として行っていたのを貴族たちが見物に訪れる、貴族の祭となった。
English: Although many pre-ritual events take place, Yabusame, a Shinto religious horseback archery ceremony is famous among them.
Japanese: さまざまな前儀が行われるが、中でも流鏑馬神事（やぶさめしんじ）が有名である。
English: It is a ritual that takes place along a 500 meter riding ground in the middle of the Tadasuno Mori forest, archers in court noble style official costumes and warrior style hunting costumes try to shoot down three targets from horseback.
Japanese: 糺（ただす）の森の真中にある全長500メートルの馬場（ばば）を、公家風の装束姿や武家風の狩装束姿の射手（いて）たちが疾走する馬上から、３つの的を射抜くというものである。
English: As yabusame is also written as '矢伏射馬' in kanji characters, yabusame is a horseback archery.
Japanese: 「矢伏射馬（やぶさめ）」とも書かれる流鏑馬は、その文字が示すように矢を射ること。
English: It is one of the most popular events because a highly skilled technique is required to precisely shoot down targets while the horse runs.
Japanese: 馬を走らせながら正確に的を射抜く高度な技術が必要とされるため、人気の行事の一つである。
English: An entry in the "Nihonshoki" (Chronicles of Japan) explains that in the year of the enthronement Emperor Yuryaku (in 457), they practiced 'Umayumi' (horseback archery), and in the "Shoku Nihongi" (the Sequel of the Chronicles of Japan) it explains that 'horseback archery shall be prohibited when people get together at the Kamo Matsuri Festival,' it has been a Japanese equestrian art with a long history since ancient times.
Japanese: 雄略天皇の即位の年（４５７）、「騁射（うまゆみ）」を行ったと『日本書紀』が伝え、「賀茂祭に民衆を集めて騎射を禁ず」の記事が『続日本紀』にしるされるなど、古い歴史を持つ日本古来の馬術。
English: When the arrows hit the targets, it is believed that gokoku (the five cereals: similes of harvest) are promised for abundant grain harvests, and wishes come true.
Japanese: みごと矢が的中すれば五穀は稔り、諸願は成就すると言い伝えられている。
English: It had stopped in 1502, but resumed again in 1973, held as a memorial event for the of Transfer of a deity to a new shrine building as prescribed in the number of years for Shimogamo-jinja Shrine.
Japanese: 文亀二年（１５０２）に中絶したが、昭和４８年、下鴨神社式年遷宮の記念行事として復活。
English: Yabusame in court noble style official costume is handed down by an organization called 'Tadasu no Mori Yabusame Jinji hozonkai' (Yabusame in Tadasu no Mori Preservation Association).
Japanese: 「糺の森流鏑馬神事保存会」によって公家装束による流鏑馬が保存・伝承されている。
English: At Kamigamo-jinja Shrine, a horse competition ritual is performed.
Japanese: また、上賀茂神社では競馬会神事(くらべうまえじんじ)などが執り行われる。
English: On May 15, people dressed in Heian period costumes march with a gissha (cow carriage) from Kyoto Imperial Palace via Shimogamo-jinja Shrine to Kamigamo-jinja Shrine and Konoe no tsukai (Imperial Guard delegate), and as guards, officers from Kebiishicho (Office of Police and Judicial Chief) such as 'Kebiishi jo' (second officer of the imperial police bureau), 'Kebiishi shi' (third officer of the imperial police bureau), Yamashiro no tsukai (delegate of the Yamashiro Province), Maryo no tsukai (delegate of Maryo (the section taking care of imperial horses)), and Kura no tsukai (delegate of Kuraryo (the Inner Treasury Office)), and make a main march.
Japanese: 5月15日には平安時代の衣装を身にまとった人々が牛車とともに京都御所から下鴨神社を経て上賀茂神社まで、近衛使と、警備のための「検非違使尉」と「検非違使志」といった検非違使庁の官吏と、山城使と、馬寮使、内蔵使による本列として行進する。
English: Konoeshi (The acting Imperial Guard delegate (Imperial delegate): This is because the Konoefu (Imperial Guard Office) used to be dispatched to the Kamo matsuri as an Imperial Delegate.
Japanese: 近衛使：（かつては、近衛府が賀茂祭の勅使として遣わされる慣例があったため。
English: However, today, the Imperial delegate (the delegate of the real Emperor) does not participate in the march, a representative called Konoeshi-dai (the acting Imperial Guard delegate) participates instead.
Japanese: もっとも、現在実際の天皇の使いである勅使は行列には加わらず、近衛使（勅使）代と呼ばれる代行者が行列に参加している。)
English: Yamashiro no tsukai: Because Kamo-jinja Shrine was not under the control of Kyoshiki (the Capital Bureau), but under the provincial office of the Yamashiro Province, thus 'Yamashiro no suke' (Deputy governor of the Yamashiro Province) was dispatched as a guard and director of the ceremony.
Japanese: 山城使：（やましろのつかい、賀茂神社は、京職の管轄外で山城国の国官の管轄であったため、国府次官の「山城介」を警備と監督にあてた)。
English: Kura no tsukai: 'Uchikura no suke' (Assistant Head of the Inner Treasury Office) and 'Uchikura shisho' (the office clerk of the Inner Treasury Office) who were in charge of paper or cloth strips attached to a stick and offered to a deity are dispatched.
Japanese: 内蔵使：（くらのつかい、「内蔵助」と「内蔵史生」という天皇の幣帛を管理する内蔵寮の官吏をあてた)。
English: At Shimogamo-jinja Shrine and Kamigamo-jinja Shrine, the actual Imperial delegate, Shotenshoku (ceremonial master) announces the ceremonial message and the ceremony is carried out at the shrine.
Japanese: 下鴨神社と上賀茂神社において、実際の勅使である掌典職の掌典が祭文を奏上する社頭の儀（しゃとうのぎ）がとり行われる。
English: The Roto no gi (to see the march): For seat reservation (at the Imperial Palace and the promenade to Shimogamo-jinja Shrine) for a fee, contact the Kyoto City Tourist Association.
Japanese: 路頭の儀（行列を見る）有料拝観席（御所と下鴨神社参道）の受付→京都市観光協会
English: Saio (the High priestess) is an imperial princess or queen from the Imperial family who served as miko (a shrine maiden) at Kamo-jinja Shrine.
Japanese: 斎王（さいおう）とは、賀茂神社に巫女として仕えるために皇室から差し出された内親王または女王(皇族)のこと。
English: Today, it is selected among the general public of the Kyoto residents, and is in fact Saio-dai (an acting High priestess).
Japanese: 現在では京都在住の一般市民から選ばれるので斎王代（さいおうだい）となる。
English: She wears Karaginu-mo Shozoku (Chinese dress costume), and is heavily made up like a theatrical actress, and her teeth are painted black.
Japanese: 唐衣裳装束（からぎぬもしょうぞく）を着用、舞台化粧と同様の厚化粧をし、お歯黒も付ける。
English: It is the ceremony that Saio-dai and females involved in the ritual soak their hands in the Mitarashi-ike pond and purify themselves, and it takes place at Shimogamo-jinja Shrine and Kamigamo-jinja Shrine every other year.
Japanese: 斎王代と女人たちが御手洗池（みたらしいけ）に手を浸し清める儀式で、下鴨神社と上賀茂神社両社で隔年交替で行われる。
English: At the center of the march is Saio-dai, and Me no Warawa (the lady attendants), Umanori no Onna (ladies on horseback), and Uneme (court ladies from provinces), nyokan (court ladies) follow and a gorgeous parade marches on.
Japanese: 斎王代を中心としてその周囲に女童（めのわらわ）、騎女（うまのりのおんな）、采女（うねめ）、女官、等の華やかで可憐な行列が続く。
English: All of them put on heavy makeup like theatrical makeup but no one paints their teeth black except for Saio-dai.
Japanese: 全員が舞台化粧と同様の厚化粧をするが、斎王代以外はお歯黒を付けない。
English: Genpuku was a coming-of-age celebration for boys, a rite of passage held among Court nobles and samurai families since the Heian period.
Japanese: 元服（げんぶく、げんぷく）とは、平安時代以降、公家・武家の間で行われた男子の成人式という通過儀礼である。
English: In general, Genpuku was held in order to declare that a boy, who became 15 years old (age according to the traditional Japanese system), reached manhood, and in the rite, the boy changed into adult clothes in front of the shrine of his ujigami (a guardian god or spirit of a particular place in the Shinto religion), changed his hairstyle from the hairstyle for children called agemaki (mizura: trefoil knots) to the hairstyle for adults called kanmurisita no motodori (the hair is bundled up on the top of the head and made to stand up to accomodate a crown), and was crowned by eboshioya (a person who put on an eboshi (formal headwear for court nobles) during the genpuku ceremony); in Court nobles and the Taira families of samurai, the boy often had heavy makeup, hikimayu (painted eyebrows) and ohaguro (black painted teeth), while in the Minamoto families of samurai, the boy mostly did not have any makeup.)
Japanese: 一般に15歳（数え年）に達した男子が成人したことを表すために行われ、氏神の社前で大人の服に改め、総角（角髪（みずら））と呼ばれる子供の髪型を改めて大人の髪（冠下の髻（かんむりしたのもとどり））を結い、烏帽子親により冠をつける（公家、及び、平氏系の武家では、厚化粧、引眉にお歯黒も付ける、源氏系は付けない場合が多かった）。
English: In ordinary people, there was a rite called Fundoshi-iwai when a boy wore Fundoshi (loincloth) for the first time under heko-oya (acting parents asked for Fundoshi iwai), and was taught about sex.
Japanese: 民間においては褌親（へこおや）の元で、初めてふんどしを付け、性に関する知識を授かる褌祝（ふんどしいわい）と呼ばれる儀式がある。
English: Since the Edo period, women also described their celebration as Genpuku, and they experienced it simultaneously with marriage, and even if they were single, they held the ceremony at around the age 18 to 20.
Japanese: 江戸時代以降は女性も元服と称し、結婚と同時に、未婚でも18～20才くらいで行った。
English: When a woman celebrated Genpuku, she wore modest kimono, changed her hairstyle to marumage (rounded hair style of a married woman), ryowa (two knots are made and fixed with a stick called "kogai" with the remaining hair rolled up), or sakko fashion (Maiko's hairstyle), and wore heavier makeup and ohaguro was put on by kaneoya (godmother of kanetsuke), and had hikimayu.
Japanese: 女性で元服という場合は、地味な着物を着て、日本髪の髪形を丸髷、両輪、又は先笄に替え、元服前より更に厚化粧になり、鉄漿親（かねおや）によりお歯黒を付けてもらい、引眉する。
English: A tokonoma is a kind of Zashikikazari (a set of decorative features), seen in a tatami room of a Japanese house.
Japanese: 床の間（とこのま）とは、日本の住宅の畳の部屋に見られる座敷飾りの一つ。
English: Tokonoma is installed at a corner in a guest room, i.e., a space of Hare (noticeably cheerful and formal situations or such places) and Ke (informal and daily situations), and it is composed of tokobashira (the pillar closest to the corner of the tea ceremony room and the second of two pillars dictate the width of the alcove), tokogamachi (an ornamental wooden bar in the front part of tokonoma), and so on.
Japanese: ハレとケの空間である客間の一角に造られ、床柱、床框などで構成されている。
English: The origin of tokonoma is oshiita (a zashiki kazari of a thick wooden board settled at the bottom of the wall in the Medieval Period) in the Medieval period, and the tokonoma had been accomplished in the Shoin-zukuri Sukiya (a house built in the style of a tea-ceremony hut), and in Shoin-zukuri in the style of sukiya (traditional style of Japanese residential architecture building in the style of a tea-ceremony house), in the early modern period, in a quintessential way.
Japanese: 中世の押し板が起源であり、典型的には近世初期の書院造、数寄屋風書院において完成した。
English: In the Shoin-zukuri style, the tokonoma represented the social status of the person seated at Kamiza (seat of honour), but afterwards, in the Japanese-style house, it has represented the consideration and attention of the resident, who decorates the tokonoma with seasonable kakejiku or flowers.
Japanese: 書院造においては、上座に座る人物の格式を示すものであったが、その後の和風住宅では、客人をもてなすために季節に合わせた掛け軸や花を飾り、住まい手の心配りを示す存在であった。
English: In a room having a tokonoma, the side close to tokonoma is regarded as Kamiza, and it is regarded as the center of the room.
Japanese: 床の間のある部屋においては、床の間側を上座とし、その部屋の中心となる。
English: (In the sense that the tokonoma gives direction to the indoor space, the tokonoma can be said to be equivalent to the mantelpiece of a Western-style room.)
Japanese: （室内空間に方向性を与えるという点では、洋間のマントルピースに相当するともいえる）
English: During the Edo period, having a tokonoma was restricted because tokonoma was regarded as too luxurious for ordinary people, but after the Meiji period, installing tokonoma in a guest room became common.
Japanese: 江戸時代には、庶民が床の間を造るのは贅沢だとして規制されていたが、明治時代以降になると客間に床の間を造るのが一般的になった。
English: Nowadays, the custom to decorate kakejiku has faded, and even in a tatami room, tokonoma is often excluded.
Japanese: 現在では掛け軸をかける習慣が衰え、畳の部屋でも床の間を省略することも多い。
English: Today, even in a room where there is already tokonoma, it is often remodeled into a closet.
Japanese: 既に床の間がある部屋も、最近は床の間を潰してクローゼットにすることが多い。
English: In Japanese-style inns, it is often seen that tokonoma falls to the level of a space to set a TV or a safety box (i.e., cashbox).
Japanese: 和風旅館では床の間がテレビやセーフティボックス（要は金庫）を置くスペースになり下がっていることもよく見受けられる。
English: In Shoin-zukuri style, tokobashira is basically kakubashira (a corner post or pillar that is square or rectangular), but at a private residence, for example, because of the influence of Sukiya-zukuri style, an uncommon precious wood, such as a log with knots, is often used.
Japanese: 書院造では角柱が基本であるが、私邸などでは数寄屋造りの影響から、節つきの丸木等、珍しい銘木を用いることも多い。
English: - a lacquered cross piece (tokogamachi) and a tatami mat on the raised place above the tatami floor.
Japanese: -　畳の面より一段上げるようにして、漆塗りの横材（床框）と畳を置く。
English: In buildings during the early modern period, such as the Reception Hall of Kojoin of Onjo-ji Temple, Ninomaru Shoin of Nijo-jo Castle, Shoin of Hongan-ji Temple, tokogamachi is not used, but a solid timber (oshi-ita or a shallow decorative alcove) is placed.
Japanese: 近世初期の園城寺光浄院客殿、二条城二の丸書院、本願寺書院などは床框を用いず、一枚板（押板）を置く。
English: In tokonoma, toko is not only placed alone, but also frequently accompanied by tsukeshoin (a built-in table) at the corridor (daylighting) side, and by wakidana (shelves next to tokonoma) at the opposite side, in accordance with the tradition of Shoin-zukuri style.
Japanese: 床の間は、床を単独で配置するだけではなく、書院造の伝統を受け継ぎ廊下（採光）側に付書院、反対側に脇棚を備える事が多い。
English: The representative tokowakidana is 'chigai-dana' (shelves built into the wall), which is made by combining double-stage shelves, but depending on the owner's taste, other styles including 'tsuridana' (a three small shelves hung from a large shelf) are also employed.
Japanese: 床脇棚は、二段の棚を組合わせた「違い棚」代表的だが、施主の好みにより「釣り棚」等他の様式が採られることもある。