nntsuzu/KFTT huggingface dataset:
English: Sogi, a Renga poet in late Muromachi period used expressions of "appearance that is magnificent, Yugen and Ushin" in his book "Azuma Mondo"(East Country Dialogues) and "Yugen and magnificent" in "Chorokumon", which is considered as his ideal in Renga.
Japanese: 室町時代後期の連歌師宗祇は、著書『吾妻問答』の中で「長高く幽玄有心なる姿」、『長六文』の中で「幽玄にたけたかく」という表現を用いており、宗祇の連歌における理想を示すものと考えられている。
English: And a street east of Higashioji-dori Street is called "Chionin-michi", which extends to Jingu-michi Street in front of San-mon Gate of Chion-in Temple.
Japanese: さらに、東大路通より東は、知恩院道と名前を変えて知恩院の三門前、神宮道まで続いている。
English: Just like other streets such as the Ishibei-koji Street, the Shinbashi-dori Street is paved with stones which were once on the rails of the Kyoto City Streetcar tracks.
Japanese: 京都市電の軌道内に敷設されていた石畳が、石塀小路などと同様に敷かれている。
English: This is a tasteful street as Gion-ochaya Teahouses (places where geisha entertain their guests) stand side by side on the street coupled with the running of Shira-kawa River (Yodo-gawa River system.)
Japanese: 祇園のお茶屋が軒を連ね、白川(淀川水系)の流れと相俟って風情のある通りである。
English: The first appearance of Hikihitomai in written records is the description at the section of March, the eighth year of the Emperor Buretsu's era in "Nihonshoki" (Chronicles of Japan), that "the emperor indulges himself in wanton pleasures by gathering many short people and actors to make them play queer performances and barnyard music."
Japanese: 文献初出は『日本書紀』武烈天皇8年3月の条に、「大に侏儒倡優を進めて爛漫の楽を為す、奇偉之戯を設けて靡靡之声を縦にす」とあるものである。
English: This description is said to quote a Chinese historical event referring to an elbow and if so, it is unknown whether or not hikihitomai was performed in Japan at that time.
Japanese: これは中国、肘の故事を借りたものであるといい、そうであるならば、当時、日本で侏儒舞が行われたか不明である。
English: Sakubei is a one kind of "togashi" (literally 'Chinese sweet'), which were introduced to Japan from ancient China, and is also said to be the origin of somen noodles.
Japanese: 索餅（さくべい）とは、古代中国から日本に伝わった唐菓子の1つで素麺の祖となったとも言われている食品のこと。
English: It seems to have been eaten by being boiled and served with sho (the original form of soy sauce), misho (the original form of miso soybean paste), vinegar, etc.
Japanese: 食するときは茹でた後に醤・未醤・酢などに付けて食べたとみられている。
English: Sakubei gained popularity when the custom among the general public of making pounded wheat cakes during the wheat harvest was introduced to the Imperial Court.
Japanese: 民間で行われていた麦の収穫の際の麦餅作りの風習が宮中行事に取り入れられる形で広く用いられた。
English: In the Imperial Court, sakubei was made in the Naizenshi (Imperial Table Office) and served to the Emperor, and was also served to retainers during sumai no sechie (ritual performances of sumo at the Imperial Court) and the Tanabata festival to ward off evil.
Japanese: 宮中では内膳司で作られて天皇に供せられ、相撲節会や七夕の厄除けなどにおいて臣下にも給せられた。
English: Buke sado is the tea ceremony performed among the samurai families mainly in the Edo period and after.
Japanese: 武家茶道（ぶけさどう）とは、おもに江戸時代以降に武家社会の間で行われてきた茶道のこと。
English: Often each clan or daimyo had its own style of tea ceremony, and many of such styles were only performed in each fief.
Japanese: 多くの場合、各藩各大名でそれぞれ公式の流儀が定められており、一つの領国内のみで行われていた流儀も多い。
English: Unlike the merchant class tea ceremony in the Edo period in which the iemoto (the head of a tea ceremony school) system was established, the lord of each clan was, as it were, the head of each school in buke sado.
Japanese: 江戸時代から家元制度をとっていた町人茶と違い、武家茶道においてはいわば各藩の殿様が家元に相当する立場である。
English: Although the practical management of the tea ceremony was assigned to a tea ceremony instructor in most cases, there were some examples where the lord himself had profound knowledge of the tea ceremony.
Japanese: 実務は茶道師範に任せていることが大半であるが、中には大名自ら深く茶道を嗜んでいる事例もある。
English: Major schools of buke sado include Enshu-ryu, Sekishu-ryu, Uraku-ryu, Uedasoko-ryu, Chinshin-ryu, Fumai-ryu, Ogasawarake-sado-koryu, and Oie-ryu (of tea ceremony).
Japanese: 主な流儀に遠州流、石州流、有楽流、上田宗箇流、鎮信流、不昧流、小笠原家茶道古流、御家流(茶道)などがある。
English: Founded by Sekishu KATAGIRI who was the tea ceremony teacher for the the Shogun family, the Sekishu school particularly had a large number of sects and permeated throughout the samurai society.
Japanese: 将軍家茶道師範役だった片桐石州の石州流は、とくに多くの分派を持ち、武家社会に浸透していた。
English: Karukuchi has its origin in plays such as kabuki parodied and developed on a stage prepared in the precincts of the Osaka-tenmangu Shrine, in Shijo Kawaramachi, Kyoto City at the end of the Edo Period.
Japanese: 江戸時代末期に京都四条河原町、大坂天満宮の神社の境内に舞台を設けひとりでに歌舞伎、芝居の物真似演じられた起源。
English: Sitting straight in costumes, two people played riddles and compared wits with each other, or parodied theatrical plays such as kabuki, and this style of arts became popular.
Japanese: 2人が正座し簡単な小道具、衣装を身に付け謎かけ問答や知恵比べ問答歌舞伎、芝居の物真似をし人気を取っていた。
English: In August, 1892, entertainment shows under the name of "Karukuchi" performed by a duo of Umedanji KATSURA (the first generation) and Gantoku KATSURAYA gained stories of rakugo repertoire.
Japanese: 1892年8月に桂梅團治初代・桂家雁篤のコンビが「軽口」の看板を上げ、落語の演目を演じ分けるなど人気を博す。
English: Subsequently, karukuchi was performed by popular duos of Jirobo KATSURA and Tarobo KATSURA, Ineko AKINOYA and Inehachi AKINOYA, and Danshichi TSURUYA and Dankaku TSURUYA.
Japanese: その後も桂次郎坊・太郎坊、秋の家稲子・稲八、鶴家團七・團鶴等が人気を博す。
English: In the postwar time, although manzai became completely dominant and karukuchi became extinct, manzai dialogues performed by duos of Gangyoku ASHINOYA and Juro HAYASHIDA, Yakko MATSUBAYA and Kikuyakko MATSUBAYA, Kosei SHOKAKUYA and Yumewaka UKIYOTEI, Kacho ICHIRINTEI and Katsumi MATSUBARA and Karaku UKIYOTEI and Sazae MINAMI were close to the style of karukuchi.
Japanese: 戦後では完全に漫才が主流になり演じ手はいなかったが芦乃家雁玉・林田十郎、松葉家奴・松葉家喜久奴、松鶴家光晴・浮世亭夢若、一輪亭花蝶・松原勝美、浮世亭歌楽・ミナミサザエ等は軽口に近い芸風であった。
English: Today, although there is no successor of karukuchi, karukuchi is often performed at vaudeville theaters by Somemaru HAYASHIYA and his pupils and Gorobe TSUYUNO and his pupils.
Japanese: 現在は軽口を継承している芸人はいないが、林家染丸一門や露の五郎兵衛一門が余芸で寄席などで度々披露される。
English: Keiko UTSUMI, a Tokyo-based comedian, also performs one of karukuchi repertoires, called "Meicho Meiboku" when she appears on stage with her pupil comedian duo, Knights.
Japanese: 東京の内海桂子は弟子の笑組、ナイツ(お笑いコンビ)と舞台に上がる時、軽口の演目であった『名鳥名木』を演じる。
English: Being, as it were, remnants of sencha, konacha is cheap, but is often said to be of good taste for its price as the quality itself of tea leaves is as good as that of sencha.
Japanese: いわば煎茶の残りかすであるため安価だが、茶葉の質そのものは煎茶に劣るものではないため、価格の割りに良い味のものが多いとされている。
English: As konacha is powdery, this tea can easily dissolve in water, and a strong tea of a vivid green color can be brewed.
Japanese: また、粉状であるために茶葉の成分が溶け出しやすく、鮮やかな色合いで味の濃い茶を煎れることができる。
English: Around the Mid-Edo period, Goshun MATSUMURA founded it and Toyohiko OKAMOTO, Keibun MATSUMURA and others developed it to a force of the Kyoto painting circles, then Bunrin SHIOKAWA, Bairei KONO, Seiho TAKEUCHI, Suisho NISHIYAMA, Insho DOMOTO and others took over and it continues to this day.
Japanese: 江戸中期頃、松村呉春を祖とし、岡本豊彦や松村景文らが発展させ、京都画壇で一大勢力となり、その後塩川文麟、幸野楳嶺、竹内栖鳳、西山翠嶂、堂本印象などと現代まで続いている。
English: After that, he stayed in Ikeda City, Osaka Prefecture at one time and then went back to Kyoto to be a pupil of Okyo MARUYAMA, but Okyo refused the request and treat him as his best friend.
Japanese: その後一時、現在の大阪府池田市に滞在するものの、京都へ戻り円山応挙の門をたたくが、応挙は固辞して受けず、親友として待遇した。
English: Toyohiko OKAMOTO, a pupil of Goshun, and Keibun MATSUMURA, a younger brother and pupil of Goshun, and other pupils built their residences on the Shijo street and therefore they were called "Shijo school"
Japanese: 呉春の弟子である岡本豊彦や実弟で弟子でもある松村景文などが、四条通周辺に居を構えたことから、「四条派」と呼ばれるようになった。
English: From that period, they started to visit the Imperial Court and on the other hand they had the support of people in Kyoto, which developed the Shijo school further.
Japanese: この頃から、宮中に出入りする一方で、京都の町衆の支持も受け、四条派は大きく発展していくことになる。
English: Among the many pupils of Toyohiko and Keibun, Bunrin SHIOKAWA, a pupil of Toyohiko, showed unusual talent, so he became the successor of the Shijo school.
Japanese: 豊彦や景文は多くの弟子を持ち、その中でも豊彦の弟子である塩川文麟が突出した才能を示したため、四条派の後継者となる。
English: In the Meiji period and after, Bunrin adopted the techniques of Western paintings, which changed the painting style of the Shijo school.
Japanese: 明治以後文麟は西洋画の手法を取り入れ、それが四条派の画風を変えるきっかけとなった。
English: Bairei KONO was more of a teacher than a painter and trained a lot of pupils such as Seiho TAKEUCHI and Hobun KIKUCHI.
Japanese: 幸野楳嶺は、画家と言うよりも教育者としての側面が強く、竹内栖鳳や菊池芳文をはじめとする多くの弟子たちを育てた。
English: He adopted the technique of realism from the Kano school and Western paintings willingly and changed the painting style of the Shijo school again.
Japanese: 栖鳳は狩野派や西洋画の写実画法などを積極的に取り入れ、再び四条派の画風を変えることになった。
English: After that time, a lot of pupils started to work actively and individually like Shoen UEMURA, Suisho NISHIYAMA and others like Goun NISHIMURA, Bakusen TSUCHIDA, Chikkyo ONO, Yoson IKEDA.
Japanese: この頃からは、多くの弟子たちが個別に活躍するようになり、上村松園や西山翠嶂をはじめ、西村五雲、土田麦僊、小野竹喬、池田遙邨などが活躍した。
English: Then, Insho DOMOTO, Shoko UEMURA, Daizaburo NAKMURA and others played active roles and the Shijo school continued up to the present.
Japanese: またその後は、堂本印象、上村松篁、中村大三郎らが活躍し、現在に至っている。
English: As already written in the summary above, the Shijo school is derived from the Maruyama school, but it doesn't mean that Goshun MATSUMURA conflicted with Okyo MARUYAMA.
Japanese: 「概要」にある程度書いたように、四条派は円山派の流れをくんではいるが、松村呉春は円山応挙と対立したわけではない。
English: He rather took the realism of Okyo in his own style and developed it uniquely on the basis of literati painting (Nanga) learned from Buson and built up the Shijo school.
Japanese: 蕪村から学んだ文人画（南画）を基礎とし、応挙の写生画風を取り入れ、独自の形で発展させ、四条派を作り上げる。
English: The leading people are Keibun MATSUMURA, his younger brother, Toyohiko OKAMOTO from Mizue Village in Bicchu Province, Gito SHIBATA from Bizen Province, Kaisen ODA from Akamagaseki in Nagato Province.
Japanese: 代表的なのは、実弟の松村景文、備中国水江村から出てきた岡本豊彦、備前国から出てきた柴田義董、長門国赤間関から出てきた小田海僊らである。
English: Among them, Toyohiko and Keibun especially stood out; people often said "the birds and flowers of Keibun or the landscapes of Toyohiko".
Japanese: 特に豊彦と景文が頭角をあらわし、「花鳥は景文、山水は豊彦」と言われるまでになる。
English: Keibun and Toyohiko also accepted a lot of pupils: Keibun's pupils include Hoen NISHIYAMA, Gyokuho HASEGAWA and Seiki YOKOYAMA, and Toyohiko's pupils include Bunrin SHIOKAWA, Sukehiko OKAMOTO, Zeshin SHIBATA and Nikka TANAKA.
Japanese: また、景文も豊彦も多くの弟子を持ち、景文の弟子には西山芳園、長谷川玉峰、横山清暉などがおり、豊彦の弟子には塩川文麟、岡本亮彦、柴田是真、田中日華などがいる。
English: They both had a large number of people of the school, but Toyohiko succeeded the Shijo school.
Japanese: どちらも、一門を抱えるほどであったが、四条派を継いだのは豊彦の方であった。
English: Toyohiko was associated with the Arisugawa no miya imperial family and used to visit the Imperial Court, and his works remain in Shugakuin Imperial Villa.
Japanese: 豊彦は、有栖川宮家と親交があり、宮中にも出入りし、修学院離宮にも作品が残っている。
English: In addition, Sukehiko OKOMOTO, a pupil and adopted son of Toyohiko, was requested fusuma (a thick papered sliding door for partitioning rooms in a Japanese house) paintings when the Kyoto Imperial Palace was rebuilt in 1855.
Japanese: また、弟子で養子の岡本亮彦は、安政2年（1855年）の京都御所再建時に、障壁画を任されるほどだった。
English: Because Bunrin SHIOKAWA adopted the techniques of Western paintings willingly, the painting style of the Shijo school changed in the Meiji period.
Japanese: 塩川文麟が、明治になって積極的に西洋画の画法を取り入れた事によって、四条派の画風にも変化が起きる。
English: He broke the traditional style of composition and coloring, adopted watercolor techniques and expressed colors which had never seen in the traditional Japanese paintings in a landscape-oriented picture.
Japanese: それまでの構図や彩色法の型を破って、水彩画法を応用して従来の日本画になかった色彩を横長の画面で表現した。
English: Bunrin also accepted a lot of pupils and among them Bairei KONO became the successor.
Japanese: 文麟も多くの弟子を持ったが、その中で後継者となったのは幸野楳嶺だった。
English: The painting style of Bairei had no striking features, but he followed the style created by Bunrin faithfully and also had an ability in a wide variety of painting styles.
Japanese: 楳嶺の画風にはそれほど見るべき点は無いが、文麟が作り上げた画風を忠実に受けつぎながらも、幅広い画域を誇った。
English: He proposed the governor of Kyoto Prefecture to establish Kyoto Prefectural School of Painting (future Kyoto City University of Arts) and taught there.
Japanese: 京都府知事に画学校の設立を建議し「京都府画学校（後の「京都市立芸術大学」）」を設立し、教鞭をとっている。
English: Among them there were so called "the big four of Bairei" including Seiho TAKEUCHI, Hobun KIKUCHI, Kako TSUJI, Kokyo TANIGUCHI and also Shoen UEMURA who studied under Seiho after the death of Bairei.
Japanese: その中に「楳嶺四天王」と呼ばれる竹内栖鳳や菊池芳文、都路華香、谷口香嶠たちがおり、その他にも上村松園（楳嶺の死後は栖鳳の下で学ぶ）がいた。
English: On his educational policy, Bairei first trained them in the basics thoroughly and then set them free, so they were afraid of Bairei first, but actually he took care of them well and always tried to cheer them up.
Japanese: 楳嶺の教育方針は、基礎を徹底的に叩き込んだ後で、自由にさせるというもので、最初は弟子たちからは恐れられていたが、結構面倒見は良かったようで、常に弟子たちを引き立てるようにしていたという。
English: After Bairei died, among "the big four of Bairei" Seiho TAKEUCHI showed the talent especially, and after graduated from Kyoto Prefectural School of Painting he became famous as a leader of young painters in Kyoto.
Japanese: 楳嶺の死後、「楳嶺四天王」の中でも竹内栖鳳が特に頭角をあらわし、京都府画学校を修了した後、京都の若手画家の先鋭として名を挙げていった。
English: He was selected as a "Teishitsu Gigeiin" (selected artist by Imperial Household Ministry) and won the first Order of Culture and became the top of Kyoto painting circles both in name and reality.
Japanese: また「帝室技芸員」にも選ばれ、第1回の文化勲章を受章し、名実共に京都画壇の筆頭となっていく。
English: Famous people among them are Shoen UEMURA, Suisho NISHIYAMA and others like Goun NISHIMURA, Bakusen TSUCHIDA, Chikkyo ONO, Yoson IKEDA, Kokyo TANIGUCHI, Kansetsu HASHIMOTO, Keigetsu KIKUCHI.
Japanese: 有名なところでは、上村松園や西山翠嶂をはじめ、西村五雲、土田麦僊、小野竹喬、池田遙邨、谷口香嶠、橋本関雪、菊池契月などが活躍した。
English: In the Showa period, because of the threat of war Seiho sometimes cooperated with the military.
Japanese: 昭和に入ると戦争の足音が響くようになり、栖鳳は軍部に協力することもあった。
English: But after the war, Insho DOMOTO and Shoko Uemura who both won Order of Culture and others like Daizaburo NAKAMURA and Tekison UDA played active roles, and their pupils are active now.
Japanese: しかし、戦後になると文化勲章受章者の堂本印象や上村松篁、それ以外にも中村大三郎、宇田荻邨らが活躍し、またその弟子たちが現在活躍するに至っている。
English: Azuki beans have been used in religious rites since old times due to the linkage between its red color and a magical belief of the rice farming race.
Japanese: 小豆が持つ赤色と稲作民族における呪術が結び付けられて、古くから祭祀の場において小豆が用いられてきた。
English: Introduced in Shugaisho (Compendium of fragments, attributed to Kintaka TOIN) written in the period of the Northern and Southern Courts (of Japan) is a story that azuki-gayu is derived from a Chinese legend: people received an oracle of the spirit of silkworm that they would get a hundredfold of silkworms if they worshiped the silkworm spirit making an offering of porridge in the middle of the New Year period.
Japanese: 日本の南北朝時代(日本)に書かれた『拾芥抄』には中国の伝説として、蚕の精が正月の半ばに糜（粥）を作って自分を祀れば100倍の蚕が得られるという託宣を残したことに由来するという話が載せられている。
English: This practice later developed to a custom of eating 'laba congee' (congee eaten on the 8th day of the 12th lunar month) on December 8 (old calendar), which is made from rice, azuki beans and several kinds of grains and nuts, and in the southern China of the Six Dynasties period people ate bean porridge on January 15 (old calendar) according to the "Xingchu suishiji" (an almanac of events in life in the Xingchu region in China).
Japanese: 後にこの風習が発達して12月8日(旧暦)には米と小豆ほか複数の穀物や木の実を入れた「臘八粥」（ろうはちがゆ）というものが食せられ、六朝時代の中国南部では1月15日(旧暦)に豆粥が食せられた（『荊楚歳時記』）。
English: It is considered that this practice was introduced to Japan creating a custom of eating azuki-gayu on the morning of January 15, which is koshogatsu (小正月: New Year's Day according to the old calendar).
Japanese: これが日本に伝わって1月15日すなわち小正月の朝に小豆粥を食するようになったと考えられている。
English: According to the "Engishiki" (an ancient book for codes and procedures on national rites and prayers), on the day of koshogatsu, "nanakusa-gayu"(rice porridge with seven spring herbs) was eaten in the Imperial Court, which contained rice, azuki bean, awa (foxtail millet), sesame, kibi (common millet), hie (Japanese millet) and mutsuoregusa (Glyceria acutiflora Torr.), and the general government staff were served with more modest porridge of rice and azuki bean, which was called "okayu."
Japanese: 『延喜式』によれば、小正月には宮中において米・小豆・粟・ゴマ・黍・稗・葟子（ムツオレグサ）の「七種粥」が食せられ、一般官人には米に小豆を入れたより簡素な「御粥」が振舞われている。
English: There is a view that the concept behind these practices was an understanding that nanakusa-gayu would effectively be made by adding other grains to the base porridge of rice and azuki bean.
Japanese: これは七種粥が小豆粥に他の穀物を入れることで成立したものによるとする見方がある。
English: KI no Tsurayuki wrote in his Tosa Nikki (Tosa Diary) that he ate "azuki-gayu" on the morning of January 15 (Koshogatsu) in 935.
Japanese: また、紀貫之の『土佐日記』によれば、承平(日本)7年（935年）の1月15日（小正月）の朝に「あづきがゆ」を食したという記述が登場している。
English: In the Edo period, porridge eaten on the 15th day, namely "望の日" (mochi-no-hi: mochi written as 望 means a full moon, and mochi-no-hi means the day of the full moon, i.e. every 15th day of the lunar months) was somehow differently interpreted as porridge of "餅(の日)" (mochi(-no-hi): mochi written as 餅 means rice cake), and people started a new custom of eating azuki-gayu with rice cakes in it.
Japanese: 江戸時代には15日すなわち「望（もち）の日」の粥という語が転じて「餅（の日）」の粥と解せられ、小豆粥に餅に入れて食べる風習も行われるようになった。
English: There are some regions in Japan today where people celebrate such occasions with azuki-gayu or azuki-zoni (soup containing rice cakes, azuki beans, vegetables and other ingredients) as the New Year, rice planting, shinchiku-iwai (a gathering to celebrate the completion of a new house) and Daishiko (a festive folk event often related to the great Buddhism teachers such as Kobo Daishi (a posthumous title of the priest Kukai)).
Japanese: 今日でも地方においては正月や田植、新築祝い、大師講などの際に小豆粥や小豆雑煮で祝う風習のある地方が存在する。
English: On November 23 (old calendar)(present-day December 23), when Daishiko is conducted, people make an offering of azuki-gayu together with a pair of chopsticks made of kaya (eulalia) with each stick having a different length from that of the other.
Japanese: 大師講が行われる11月23日(旧暦)（現在は12月23日）にはそれぞれの家で長短不揃いのカヤの箸とともに小豆粥が供えられる。
English: In some regions, the chopsticks, which were believed to be the same as those used by Daishisama (the Great Teacher) when eating azuki-gayu, were used after the event as a charm against evil or as a charm for children's excellence in studies and skills.
Japanese: 大師様が小豆粥を食する際に用いたと考えられた箸は、地方によっては講の後に魔除けや子女の学問・技術の向上のまじないなどに用いられた。
English: Azuki-gayu and sekihan (white rice cooked with azuki beans) have a number of features in common, such as both being eaten on celebrative occasions.
Japanese: 同じく米と小豆を炊き込んだ赤飯との共通点が多く、いずれもハレの日に食されている。
English: In addition, sprinkling sesame and salt on sekihan is considered not only as seasoning but also as a reflection of an old days' act of adding other grains to azuki-gayu.
Japanese: 他、赤飯に胡麻塩をふりかけるのは単なる味付けのみならず、古い時代に小豆粥に他の穀物を入れたのと同様であったと考えられている。
English: Maruyama-Shijo School is a name collectively referring to Maruyama School founded by Okyo MARUYAMA and Shijo School founded by Goshun MATSUMURA, which became famous in Kyoto from the late Edo Period.
Japanese: 円山・四条派（まるやま・しじょうは）は、江戸後期から京都で有名になった円山応挙を祖とする円山派と、松村呉春を祖とする四条派を合わせた呼び名である。
English: Since Goshun MATSUMURA, the founder of Shijo School, was influenced in his painting style by the sketch style of Okyo MARUYAMA, the founder of Maruyama School, the two schools were later combined in name to be collectively called as "Maruyama-Shijo School".
Japanese: 円山派の祖である円山応挙の写生的画風に、四条派の祖である松村呉春が影響を受けているため、後世になってまとめて「円山・四条派」と呼ばれるようになった。
English: But actually, Goshun, whose painting style was rooted in literati painting (nanga) of Buson YOSA, it is safe to say that Maruyama School and Shijo School can be distinguished from each other in the painting styles.
Japanese: 実態としては、呉春は与謝蕪村の文人画（南画）を基礎としているため、円山派と四条派は別の流派であると言っても過言ではない。
English: In the section on Japanese comics, history and characteristics of the comics produced in Japan are discussed.
Japanese: 日本の漫画（にほんのまんが）は日本で制作された漫画の歴史・特徴について扱う。
English: All Japan Magazine and Book Publisher's and Editor's Association says the number of comic books published in Japan in 2006 was 10,965 and that of comic magazines was 305 (including 1,450 reprint editions).
Japanese: 全国出版協会の発表によると、日本国内で2006年に出版された漫画の単行本は10965点、漫画雑誌は305点存在する（廉価版が1450点含まれる）。
English: And the sales figures of comic books and comic magazines accounted for 36,7 percent of the total sales figure of all publications in 2006.
Japanese: また漫画と漫画雑誌の販売部数は、2006年に販売された出版物全体の36.7%に及ぶ。
English: Today, the words such as "Manga" and "Tankobon" which refer to Japanese comics and Japanese style comics are widespread all over the world.
Japanese: 現在では日本の漫画および日本風の漫画を指す“Manga”や、“Tankōbon”（単行本）といった語は世界各国に広まっている。
English: Compared to foreign comics such as American comics and bande dessinee in the French-speaking countries, Japanese comics have different characteristics like monochrome expression, distinctive deformation and well-written plot.
Japanese: 日本の漫画はアメリカン・コミックスや、フランス語圏のバンド・デシネなどの各国の漫画と比べて、モノクロ表現や独特のディフォルメ、高いストーリー性などの異なる特徴を持っている。
English: Thus, Japanese comics draw great deal of global attention recently and they are translated and published in various countries.
Japanese: そのため近年は世界的に高い注目度を誇っており、様々な国で翻訳され出版されている。
English: Previously, Japanese comics such as international version of "AKIRA" were often reconstructed and colored based on the form of American comics, but recently, the characteristics of Japanese comics are accentuated and published in the form which is closed to original.
Japanese: 以前は『AKIRA』国際版の様にアメコミ形式に再構成や彩色が行われる事が多かったが、近年はむしろ日本漫画の特徴を押し出して原書に近い形で出版されている。
English: Before the word 'animation' (anime) became popular in the late 1970, people called all of animated works, TV cartoons, animated films and dramas for children (including special effects works) 'manga (漫画, まんが or マンガ).'
Japanese: 外来語である「アニメーション」（アニメ）という言葉が1970年代後半に一般化する前には、アニメ作品、テレビアニメ、アニメ映画及び児童向けのドラマ（特撮作品を含む）も「漫画」「まんが」「マンガ」と呼んでいた。
English: (For example, 'Toei Manga Festival' and 'Manga Once Upon a Time in Japan') Thus, mainly among the middle-aged and older, some people call anime and special effects program manga or TV manga.
Japanese: （例「東映まんがまつり」「まんが日本昔ばなし」など）このため中高年を中心に今でもアニメや特撮番組を漫画、あるいはテレビまんがと呼ぶ者もいる。
English: In the business world like publishing companies, cartoon is often called 'ponchi-e.'
Japanese: 出版社などビジネスの世界では漫画絵のことをしばしば「ポンチ絵」と呼ぶ。
English: The origin of this word was the first published comic magazine in Japan, "The Japan Punch" which was made based on the British magazine of caricatures called Punch.
Japanese: これは、イギリスの風刺漫画雑誌パンチ(雑誌)をもとに日本国内で創刊された、日本最初の漫画雑誌『ジャパン・パンチ』を語源とする。
English: Japanese comics generally consist of 'frame, character, background, speech balloon, onomatopoeia, manpu (signs, symbols and characters used in manga to represent actions, emotions, etc.), dialogue and other techniques.'
Japanese: 日本の漫画は普通「コマ・登場人物・背景・ふきだし・音喩・漫符・台詞・その他の技法」から成る。
English: A space is divided by frames and each frame shows a scene.
Japanese: 紙面は齣と呼ばれる枠によって分割されており、それぞれが一つの場面を表す。
English: Readers should guess the following frame after reading a frame, in many cases, the order of reading is not specified and it is an unspoken understanding.
Japanese: 読み手はあるコマを読んだ後、次のコマはどれか判断しなければならないが、順序は明示されずに暗黙の了解とされている場合が多い。
English: If there is a visible difference in the clearance from the neighboring frame, read the closer frame.
Japanese: 隣接するコマとの間の間隔（空白）に明らかな違いが設けられている場合、近いコマを次に読む。
English: If the frames are numbered (found in some four-frame cartoon and early comics), read in numerical order.
Japanese: コマに番号が振られている場合（一部の4コマ漫画や初期の漫画などに見られる）は、番号順に読み進める。
English: (This example shows the case where the lines in a speech balloon are written vertically and the page layout is right-to-left, but if the lines in a speech balloon are written horizontally and the page layout is left-to-right, the reading direction should be reversed.)
Japanese: （この例はふきだしの文が縦書き・ページが右開きの場合で、ふきだしの文が横書き・ページが左開きの場合左右が逆になる）。
English: Onomatopoeia is written by hand in a picture.
Japanese: 擬声語・擬態語（オノマトペ）が、手書きの書き文字として絵の中に書かれる。
English: A kind of code called manpu is used to express the feeling and motion of a character and the movement of things clearly.
Japanese: 漫符と呼ばれる一種の記号を使用して、人物の心理や動作、ものの動きなどを明示的に表現する。
English: Professionals' works are often published as a book after serialized in a comic magazine.
Japanese: プロによる作品は漫画雑誌で連載された後、単行本として刊行されるものが多い。
English: There is no separation between the comics for kids and those for adults and there are no generations left behind in the comic market except the elderly.
Japanese: 子供向けと大人向け漫画の間が断絶しておらず、高齢者を除き漫画市場から取り残される年代がない。