nntsuzu/KFTT huggingface dataset:
English: The karado, which came from the Continent (especially from China), had been improved from the large and heavy solid timber in the Horyu-ji Temple in Nara, to the sangarado during the Kamakura period, and was technically completed to reduce weight.
Japanese: 大陸伝来の唐戸は、奈良法隆寺の一枚板の重厚長大な扉から、鎌倉時代の桟唐戸に至って、建具の軽量化という技術的完成をみるに至った。
English: After this period, it began to be adopted in temple architecture of Japanese style and had a large effect on the door design of various architectural styles.
Japanese: この時代以降、和様の寺院建築にも採用されはじめ、さまざまな建築の扉の意匠に大きな影響を与えた。
English: Seeing the actual usage in Emakimono, Akari-shoji was set inside of Hajitomi (wooden door with latticework).
Japanese: 実際の使用状況を絵巻物で見ると、半蔀を釣って内側に明かり障子をたてている。
English: It was natural that Koshidaka-shoji putting wainscot on the lower half which tended to get wet from rain was devised as a result of such actual usage.
Japanese: こうした実際の使用状況から、明かり障子の雨があたりやすい下半分に板を張った、腰高障子が考案されるには必然の状況であった。
English: It was a logical consequence that Koshidaka-shoji was about 80 cm high, which was the same height as the lower half of Hajitomi.
Japanese: 腰高はおよそ80cmで、半蔀の下半分と同じ腰高であったのも、必然であった。
English: In a picture scroll on the biography of Kakujo, "Bokiekotoba," which done in 1351 during the period of the Northern and Southern Courts, two sliding Koshidaka-shoji in Mairado style on lower half were done in the priest's room.
Japanese: 南北朝時代(日本)の観応二年（1351年）に描がれた浄土真宗本願寺覚如の伝記絵『慕帰絵詞』に僧侶の住房に、下半分を舞良戸仕立てにした、腰高障子が二枚引き違いに建てられているのが描かれている。
English: In the diary of FUJIWARA no Teika, "Meigetsuki," there is a description of him setting Sugiita-shoji (Sugi-shoji) on which a picture was executed in the section of the year of 1227, and that he was going to set sugi-yarido (yarido made with cedar) instead of plastering a wall in the west side of the tsumado informality in section of the year of 1230.
Japanese: 藤原定家の日記『明月記』嘉禄三年（1227年）の条に、杉板障子に画を描きお終わったので立てたとあり、寛喜二年（1230年）の条には、妻戸西は略儀によって壁を塗らず代わりに杉遣戸を立てるつもりである、とある。
English: This shoji was a wooden door made with solid timbers of cedar between black-lacquered Kamachi and it was called Sugi-shoji, Sugi-yarido, Sugiita-shoji, and sugito.
Japanese: この障子戸は、黒塗りの框に杉の一枚板を嵌め込だ板戸で、杉障子、杉遣戸、杉板障子、杉戸などと呼ばれていた。
English: Considering that pictures were executed on Sugi-shoji and it was used as an alternative wall, it can be thought of as a kind of development of Fusuma-shoji of Shitsurai, and it was mainly used for partitions between verandas and rooms or on the veranda as well as a shoin window (study or guest room in Japanese residential architecture) resembling a bay window.
Japanese: 杉障子には絵を描き、壁の代用にも用いていたことは、室礼としての襖障子の延長とも考えられるが、主に縁側と部屋との仕切りや縁上の仕切りにに使用され、また出窓形式の書院の窓にも使用されていた。
English: The main subjects of the pictures depicted on Sugi-shoji were the beauty of nature and prancing horses of Yamato-e, although karae were sometimes seen like found in Fusuma-shoji.
Japanese: 杉障子に描かれる絵は、襖障子と同様に時に唐絵が描かれることもあったが、多くは大和絵の花鳥風月や跳ね馬であった。
English: The subjects of pictures done on Sugi-shoji in "Honen Shonin Eden" (biography of Honen) as Gachu-ga (a pictorial works that appear within a painting as part of the overall composition) are mainly geese in wild reeds, pine and plum trees.
Japanese: 『法然上人絵伝』の杉障子に画中画として描かれている絵は、芦雁や松、竹、梅等が主である。
English: The existing oldest Sugi-shoji was one made during the construction of the main hall of Kakurin-ji Temple in Hyogo Prefecture around 1397 at the beginning of the Muromachi period.
Japanese: 杉障子の現存する最古のものは、兵庫県の鶴林寺本堂創建当時のもので、室町時代初期の応永四年（1397年）頃のものである。
English: Although Sugi-shoji is a door that is not used at present, but in fact, it is very familiar in a song.
Japanese: 杉障子は現在は使用されていない建具であるが、実は歌の中では実に馴染みの深いものでもある。
English: While I spent much time reading books by the glow of fireflies and the reflection from the snow, outside the window, shined by moon light, time has passed. Today, I am going to leave here (the school) after opening the door of cedar.'
Japanese: 「蛍の光、窓の雪、文読む月日重ねつつ、いつしか年も、杉の戸を開けてぞ今朝は、別れ行く。」
English: 'It uses kakubashira (a corner post or pillar that is square or rectangular) and tatami (a floor covering made of tightly woven grass and straw) as well as Mairado, Akari-shoji and Fusuma.'
Japanese: 「柱は角柱で畳を敷きつめ、舞良戸・明障子・襖を用いる」とあり、簡潔にして要を得ている。」
English: In the 'Rakuchu Rakugai-zu' Byobu (screen paintings of scenes in and around the capital) of Machidabon (versions of Machida) and Uesugibon (versions of the Uesugi family) which described Kyoto in the Sengoku Period (Period of Warring States), the residences of Shogun Ashikaga of the Muromachi bakufu (Japanese feudal government headed by a shogun) and the Hosokawa family of Kanrei (top ranked job in Muromachi period to support the shogun and control the government) are also painted.
Japanese: 戦国時代(日本)の京都を描いた、町田本や上杉本の「洛中洛外図」屏風には、室町幕府足利将軍の邸宅や細川管領の屋敷も描かれている。
English: It shows the style of architecture of Shoin-zukuri at the early stage, which is quite different from the structure of Shinden-zukuri.
Japanese: 寝殿造りとは構成がかなり異なった、成立期の書院造りの建築様式を伝えている。
English: As for the doors, Koshidaka-akari-shoji (Akari-shoji with a wainscot of about 80cm high), Maidaro and Fusuma-shoji are often used.
Japanese: 建具については、腰高明障子や舞良戸そして襖障子などが多く使用されている。
English: In the floor plan which reconstructs the Kaisho (meeting place) of Higashiyamadono (villa at Mt. Higashiyama) of Yoshimasa ASHIKAGA, all were sliding doors, inner partitions were all Fusuma-shoji, and external partitions of the south and west sides were Koshidaka-akari-shoji.
Japanese: 足利義政の東山殿会所を復元した平面図によると、建具は全て引き違いとなっており、内部仕切は全て襖障子、外部南面と西面が腰高明障子であつた。
English: In the kyakuden (reception hall) of Kangakuin, Onjo-ji Temple (built in 1600) and the kyakuden of Kojoin (built in 1601) which were remains of Shoin-zukuri at the beginning of recent times, Akari-shoji was set inside Mairado as well as the inside of tsumado and Shitomido.
Japanese: 近世初期の書院造りの遺構である、園城寺勧学院客殿（慶長五年1600年）や、光浄院客殿（慶長六年）では、舞良戸の内側には明障子を立て込んでおり、妻戸や蔀戸の内側にも明障子が用いられた。
English: In the simple style, Koshidaka-shoji was used instead of Mairado and Akari-shoji.
Japanese: 簡素な造りでは、舞良戸と明障子の代わりに、腰高障子で間に合わせることが多かった。
English: Compared to the Shinden-zukuri, the character of the Shoin-zukuri was the functional structure of being able to divide the inside space into large and small rooms for each purpose, changing a large hall to one for multipurpose.
Japanese: 書院造りの特徴は、寝殿造りと比較すると、マルチパーパスの大広間様式から、内部を大小いくつもの室に仕切り、用途に合わせた機能的な構成となった。
English: The pillar changed from marubashira (a circular pillar or post) to kakubashira for partitioning, and the various dimensions of the bay in moya and hisashi had been integrated gradually into about 2 m in the building as a whole after the Onin War.
Japanese: 間仕切りの必要から、柱は丸柱から角柱になり、これまで母屋（身屋：もや）と廂の柱間寸法に大小の別があったが、畳の普及に伴い次第に柱間一間は六・五尺に、応仁の乱以降建物全体を通じて統一されていった。
English: In this age the 1.8 m square room (tatami mat of two jo) was called hitoma (literally meaning one room), and muma (literally meaning six rooms) meant a twelve-jo room.
Japanese: この時代には一間四方（二畳）を一間といい、六間（むま）といえば畳十二畳の部屋を意味した。
English: The main room (zashiki, a room or place floored with tatami mats) consisted of toko and chigaidana (set of staggered shelves) in front, tsukeshoin or hirashoin (one type of window used in a shoin style room) on the side of veranda, and chodaigamae (a built-in ornamental doorway found in the raised area of a formal style reception suite) on the opposite side.
Japanese: 主室（座敷）の構成は、正面に床と違棚を設け、縁側寄りに付書院または平書院を設け、反対側に帳台構を造った。
English: Almost all doors were sliding doors, Fusuma-shoji were used for inner partitioning and Akari-shoji or Koshidaka-shoji was set inside Mairado on the three tracks along a veranda.
Japanese: 建具はほとんど引き違いで、室内の間仕切りは、襖障子が使用され、縁側回りは三本溝の敷居にして、舞良戸の内側に明障子か腰高障子を一枚入れた。
English: After around the mid-Muromachi period, the popularity of tatami mats rapidly began to spread and were bedded in small rooms such as shoin (zashiki of Shoin-zukuri or living and study room), but in a large room like kaisho, tatami mats were used in oimawashi (where the long side of tatami is set against the wall), leaving a wood floor in the center.
Japanese: 室町時代の中期頃から畳が急速に普及し始め、書院（書院造りの座敷、又は居間兼書斎）などの小室には畳を敷きつめるようになったが、会所などの大広間では、周囲に畳を追回しに敷いて、中央は板敷を残していた。
English: In "Moko Shurai Ekotoba" (picture scrolls of the Mongol invasion attempts against Japan) and "Honen Shonin Eden," there were scenes that tatami mat were used in oimawashi.
Japanese: 『蒙古襲来絵詞』や『法然上人絵伝』には畳を追回しに敷いた状況が描かれている。
English: In addition, the Jodan no ma (a raised floor level) that was a one step higher floor from the tatami floor, the same height of Kamachi was made and used depending on the class and status.
Japanese: そして、畳敷から框の分だけ一段高い上段の間が造られ、身分や地位に応じて使い分けられた。
English: This Jodan no ma was called tokonoma, which was the origin of the present tokonoma, an alcove where Kakejiku (a hanging scroll) or flowers are displayed.
Japanese: この上段の間を床（とこ）の間といい、現在では掛け軸を掛け生け花を生ける床の間の起源である。
English: Tatami mats were originally a bed and in the aristocratic society during the Heian period strict usage showing the status of the person who was seated there was established as a person with higher status used larger, thicker and more tatami mats.
Japanese: 畳は起源的には寝具であったが、平安時代の貴族社会では、そこに座る人の身分地位を表す厳密な用い方が定められ、身分の高い人ほど座る畳も広く厚さも厚く、畳を重ねて使用した。
English: In the samurai world during the Muromachi period, tatami was utilized to show power as a symbol.
Japanese: 室町時代の武家社会でも、畳は地位権力を表す為に、象徴的に利用された。
English: The Katsura Imperial Villa was built in the countryside of southwest Kyoto as a villa for Imperial Prince Hachijonomiya Toshihito, at the beginning of the Edo period.
Japanese: 桂離宮は、江戸時代初期に八條宮智仁親王の別荘として、京の南西の郊外に建てられた。
English: While the Nijo-jo Castle aimed at the completion of pure Shoin-zukuri, the Shoin in the Katsura Imperial Villa was considered to aim at Sukiya-gamae (also called "sukiya-zukuri" (building in the style of a tea-ceremony house)) instead of pure Shoin-zukuri.
Japanese: 二条城が、純粋な書院造の大成をめざしたのに対し、桂離宮の書院は、純粋の書院造りではなく、数寄屋構えをめざしたと考えられる。
English: Kiwari is a system for measuring out almost all the sizes of architectural members according to a ratio based on hashirama (a bay or span).
Japanese: 木割とは、柱間（はしらま）を基準に、ほとんどすべての建築各部材の寸法が、その整数比率で定められている。
English: It had the advantage that if a building was designed based on this, it could be built accurately.
Japanese: これに基づき建物を設計すれば、一応まともな建物ができる事に利点があった。
English: The kiwarisho was a trade secret and kaden (family tradition) of carpenters, but was spread widely by block book during the mid-Edo period.
Japanese: 木割書は大工の秘伝・家伝であったが、江戸中期ころには木版本などで広く普及する。
English: It was determined that the half the lumber was used for thresholds and kamoi, quarter lumber for taruki (the simplest type of rafter extended from the ridge to the end of, or beyond the eave), sixth of the lumber for yose-shikii (a single grooved track (threshold) for sliding doors, opaque sliding screens or a translucent sliding screen) and kamoi, and duodecimal lumber for furring strips of waist panel and saobuchi (a wooden strip nailed horizontally to a board of ceiling).
Japanese: 基準木材の二つ割りを敷居・鴨居に、四つ割りを垂木に、六つ割りを寄せ敷居や鴨居、十二割りを腰の胴縁や天井の棹縁に用いるなどと定められていた。
English: As a result, naihosei (the way of measuring based upon the inner size of pillar) was created and tatami mat was standardized as the longer side was 1.909 m and the shorter side was 0.93 m.
Japanese: このため内法制（柱の内がわの寸法を基準とする）が生まれ、長手が六尺三寸、短手が三尺一寸と規格化されていった。
English: On the other hand, in the Kanto Region, because 1.818 m was defined as 1 ken (about 1.8 m), the longer side of tatami was 1.757 m and the shorter size was 87.87 cm, which was called 'inaka-ma' (literally means 'the room of the countryside') as opposed to 'kyo-ma' (literally means 'the room of Kyoto') in the Kinai Region.
Japanese: 一方、関東地方では、六尺を一間とするため、畳の長手が五尺八寸短手が二尺九寸で、畿内地方の「京間」に対して「田舎間」と称された。
English: Anyway, the size of hashirama was defined based upon tatami mat, and the width of the room came to be expressed by the number of tatami (called tatamiwari sei).
Japanese: ともかく、畳を中心として柱間寸法が定まり、室の大きさは畳の枚数で表されるようになっていく（畳割制）。
English: From the needs of commercial distribution, the standardization of lumber, tatami and doors were promoted, and consequently a carpenter could construct a building without drawing a design if he or she knew at least kiwari and had a simple floor plan.
Japanese: このような、商品流通の事情から、材木や畳、建具の規格化が促進され、大工は、木割を頭に入れておけば、簡単な間取り図さえあれば、設計図面などなしで建物を建てることができた。
English: Therefore, the style of houses were uniformed, but the dimensions of tatami were different depending upon the regions of Kinai, Chukyo (countries around Nagoya) and Kanto, which led to the difference of the width of a room depending on the regions as the ratio of 'Chukyo-ma' (the room in the Chukyo Region) was 0.9 and the one of 'inaka-ma or edo-ma' was 0.85 against the 6 jo width of 'Kyo-ma.'
Japanese: このため、住宅は画一化された様式となり、また畿内、中京、関東地方でそれぞれ畳の寸法が異なり、「京間」の六畳に対して、「中京間」は約0.9「田舎間、江戸間」は0.85の広さと、地方によって部屋の広さが異なるようになっていった。
English: Especially in Edo, a heavily-populated area, the smallest tatami was used as the standard because in the Mikawa region, when it was ruled by Ieyasu, the smaller tatami, which was called inaka-ma as opposed to kyo-ma, was forced to be used from the standpoint of modesty and frugality.
Japanese: 特に、人口が密集した江戸において、最も小さな畳を基準としたのは、家康時代の三河地方では、質素倹約の立場から、京間に対して田舎間と称して意識的に小さな畳を使用させていた。
English: It is said that with entering into the Kanto Region, the tatami craftsmen in the Mikawa Region inevitably moved to Edo and produced the tatami of 'inaka-ma,' which later became the standard.
Japanese: 家康の関東入部に伴い、三河地方の畳職人も江戸に移り、必然的に江戸でも「田舎間」の畳を作り、それが標準となったという。
English: There are various sizes of tatami mat and there was no standard for the bay, and inevitably, as a result, there are various sizes of doors.
Japanese: 畳の大きさもまちまちであり、柱間の寸法も標準がなく、必然的に建具の寸法もさまざまに作られている。
English: In Chushoin, extremely wide Akari-shoji were set between three bays, and broke up the monotonous repetition.
Japanese: 中書院では柱を三間も抜いて、極端に幅の広い明障子を立て込み、単調な繰り返しを破っている。
English: It is said that the beauty of the Katsura Imperial Villa is the fusion of its calm and elegant form and great gardens.
Japanese: 桂離宮の美しさは、その閑雅な造形と名庭園とが、一体に溶け合っているところにあるといわれている。
English: Its representative buildings, Koshoin, Chushoin, Gakki no ma (a room where musical instruments were stored) and Oyagoten, are built in the Shoin-zukuri style in the form of ganko (lining up shoulder to shoulder like flying geese).
Japanese: 代表的な建築物は、古書院、中書院、楽器の間、親御殿と雁行して建てられた書院造りの様式をとっている。
English: There is other garden architecture such as Gepparo (a building for viewing the moon reflected from a pond), Shokintei (a building for tea ceremony), Manji-tei (armor standing at the top of the toyama (outer hills)), Shokatei (a building for tea ceremony), Onrindo (a small private Buddhist hall) and Shoiken (a building for tea ceremony).
Japanese: 他に月波楼、松琴亭、まんじ亭、賞花亭、園林堂、笑意軒などの庭園建築がある。
English: The Shokintei made as a building for tea room is in the central of the garden, and the most excellent garden architecture seen in the Katsura Imperial Villa.
Japanese: 茶室として作事された松琴亭は、庭園の中心をなす造形であり、桂離宮の庭園建築のなかでも白眉である。
English: On the tokonoma and Fusuma in the Shokintei, weathered indigo and white Kaga Hosho gami (traditional white Japanese paper, made from high-quality mulberry wood in Kaga Province) are pasted in daring checkered patterns.
Japanese: 松琴亭の床の間および襖には、薄藍色と白色の加賀奉書紙が大胆な市松模様に貼り付けられている。
English: The Katsura Imperial Villa was the best example of Shoin-zukuri architecture in the style of sukiya (building in the style of a tea-ceremony house), was the fusion of sukiya style and Shoin-zukuri building and a pioneer in the transition from the tea ceremony in Shoin to the tea ceremony in the room of suikiya style.
Japanese: 桂離宮は数寄屋風書院造りの頂点に立つ建築でもあり、数寄屋造りと書院造りとの接点であり、書院の茶から数寄屋としての茶室への先駆であつた。
English: In the "Shomei," there is a description that says; 'Soeki is the first person to call the tea ceremony house, Sukiya.'
Japanese: 「茶の湯の座敷を数寄屋と名付事は、堺市の宗益云いはじめるなり。」と『匠明』にある。
English: From the Shoin tea ceremony that was particular about formalities, the wabicha (the subdued-style tea ceremony) which emphasized the raising of a spirit standing aloof from the world had become popular and the space for tea ceremony including a tea hut into design had been established.
Japanese: 格式を重んじる書院の茶から、俗世間を超越した精神的昂揚を重んじる侘茶が流行して行き、草庵の風情を意匠に取り入れた茶の為の空間が確立されていく。
English: The Shoin-zukuri room which used kakubashira, nageshi, and richly colored kinpeki shohekiga (a large painting on a wall, screen or sliding door where strong, bright, mineral pigments such as ultramarine, malachite, and red ocher were applied over gold backgrounds with gold foil and gold paint) on the wall and Fusuma-shoji were suitable for ceremonies to see a guest, but a little too stiff for daily life.
Japanese: 角柱を使い、長押（なげし）を打ち、壁や襖障子に極彩色の金碧障壁画を描く書院造りは、対面儀式にはふさわしいが、日常の生活にはやや堅苦しい。
English: Influenced by the prevalence of the tea ceremony, the menkawabashira (a pillar or post rafter or batten usually made of cedar or cypress, which has four planed sides but retains natural texture, including the bark, untouched at the corners) was used, and light, easy and elaborate designs were devised.
Japanese: 茶の湯の流行の影響から、面皮柱（丸太の四面を垂直に切り落とし、四隅に丸い部分を残した柱）を使用し、室内も軽妙な意匠を凝らした。
English: Various sophisticated designs were devised as follows; the formation of Katomado (specially shaped windows with many s-shaped curves in a Zen temple) and its above Shoji of tsukeshoin, the design of kugikakushi (object which conceals the head of nail) of transom and the usage of karakami (printed paper, paper sliding door) xylographed simple komon (small fine pattern) motif.
Japanese: 付書院の花頭窓とその上の障子の構成や欄間の釘隠しの意匠そして、襖障子には木版でシンプルな小紋文様をすり込んだ唐紙を使用するなど、さまざまなしゃれた意匠を工夫していった。
English: In accordance with the prevalence of tea ceremony from medieval times to recent times, the tea room in the tea hut, which was the individual architecture for tea ceremony, had been built.
Japanese: 茶の湯が中世から近世にかけて流行普及して行き、茶のための独自の建築空間である草庵茶室が造られるようになっていく。
English: The Sukiya-zukuri of building was completed incorporating its design into Shoin-zukuri, and on the other hand, the original designs of the seclusion of a hermit which was popular in medieval times and of the villas of court nobles who favored tasteful elegance also had a large effect on it.
Japanese: その意匠を書院造りに取り入れて数寄屋造りが完成していくが、一方で中世に盛んに行なわれた隠遁者の閑居や、風雅を好む公家達の別荘としての独自の意匠も大きく影響していった。
English: The Manshuin Temple at the foot of a mountain in the northeast of Kyoto was built in 1656, moved from north of the Imperial Palace.
Japanese: 曼殊院は、京の北東の山裾に位置し、明暦二年に御所の北から寺地を移して建てられたものである。
English: Oshoin (large Shoin) and Kojoin (Small Shoin) are lined up, both have a light and easy sukiya style design.
Japanese: 大書院と小書院とが連なり、ともに数寄屋風の軽妙な意匠で構成されている。
English: The main Kojoin room is Tasogare no ma (literally, "room of twilight"), where there is Jodan no ma of two jo with toko and shoin.
Japanese: 小書院は黄昏の間が主室で、二畳敷の上段の間があり、そこに床と書院を設けている。
English: The next room of Tasogare no ma is the Fuji no ma (literally, "room of Mt. Fuji"), in the west of which there is a tea room of ichijo-daime (three-quarter size of tatami), and at the back of Tasogare no ma a tea room called Hasso no seki (a tea room at Konchi-in of Nanzen-ji Temple) is attached.
Japanese: 黄昏の間の次の間が八畳の富士の間で、その西に一畳台目の茶室を設け、黄昏の間の裏手には、八窓席と呼ぶ茶室を付属させている。
English: Especially the transom between Tasogare no ma and Fuji no ma has a uniquely designed and carved Chrysanthemum pattern.
Japanese: 特に黄昏の間と富士の間の境の欄間には、菊の紋様を彫り込んだユニークなものである。
English: The Kuroshoin located in the depth of Shiroshoin, which is a room used to meet guests, and in the main room, ichi no ma, there is a toko of one and half ken wide and menkawabashira as a pillar of toko.
Japanese: 黒書院は、対面所である白書院の奥に位置し、主室の一の間には正面右手に一間半の床を設け、床柱には面皮柱を使っている。
English: In the shoin, left of the toko, there is Katomado and chigaidana set a little apart from its left front side.
Japanese: 床の左の書院には花頭窓を開け、その左手前からやや離して違棚を設けている。
English: It consists of individual elaborated designs such as a shelf board of openwork in a wickerwork design, the designs of kugikakushi plant motif and a sculptured transom.
Japanese: 透かし彫りの棚板や、植物をモチーフとした釘隠しの意匠、そして欄間の彫刻など独自の工夫した意匠で構成されている。
English: Because all of them were built during the same period and were temple architecture, they were built in Shoin-zukuri style basically, so that they were used as a tasteful daily room which incorporated free, light, easy and sophisticated designs while maintaining the elegance of Shoin-zukuri.
Japanese: いずれも、同時代の建築であり寺院建築でもあるため、基本的には書院造りであり、その気品を失わず、数寄屋造りの自由で軽妙なしゃれた意匠を随所に取り入れて、日常の風雅な居室として使用された。
English: In the Muromachi period, it spread rapidly among the society of samurai and court nobles, partly because it was favored by Ashikaga Shogun.
Japanese: 室町時代に入ると、足利将軍に愛用された事もあって武家社会や公家社会に急速に流行していった。
English: In the first style of tea ceremony, the place where the tea was produced was guessed while enjoying beautifully made tea cups, but later the action of drinking the tea itself came to be valued mentally through its prevalence.
Japanese: 名器を並べて観賞し、茶の産地を飲み当てる茶は、その流行のなかから次第に茶をたてて飲む行為そのものに、精神的意義を認めるようになった。
English: Gradually the place for the tea ceremony had been changed from Shoin to a space for pleasure standing aloof from the world or a small room exclusively for tea ceremony.
Japanese: 次第に格式を重んじる書院の茶から、俗世間を超越した遊びの空間、茶のための専用の狭い空間を使うことが多くなった。
English: By using an extremely small room from six to four and half, and two jo, the tea ceremony, the spirituality of which was enhanced, came to be held.
Japanese: 六畳から四畳半さらには二畳と、極小空間を使うことで、精神的に高められた茶の湯を行なうようになっていく。
English: In the "Nanboroku" (books of tea ceremony) there is a description that says; 'The room sized Yojohan (7.4 square meters) was designed by Juko, and the main room is set as; shiraharitsuke of Torinoko-gami (wall pasted Torinoko-gami paper), fushinashi tenjo (edgeless ceiling) of cedar boards, koita-fuki (flooring with small wooden board), hogyo-zukuri (roofing of squire, sexanglular and octagon) and toko of 1.8 m.'
Japanese: 『南坊録』に、「四畳半座敷は、珠光の作事なり。真座敷とて鳥の子紙の白張付け、杉板のふしなし天井、小板ふき、宝形造、一間床なり。」とある。
English: By Juko MURATA, who was considered to be the founder of tea ceremony, the tea ceremony at yojohan zashiki was widespread.
Japanese: 茶道の始祖といわれる村田珠光によって四畳半座敷の茶の湯が広められた。
English: In the northeastern corner of Togudo in Jisho-ji (Ginkaku-ji) Temple (a national treasure) 'Dojinsai' is located that was used as the tea room for Yoshimasa ASHIKAGA, a Shogun.
Japanese: 国宝の慈照寺（銀閣寺）東求堂の北東角に、将軍足利義政の茶室として使われた、「同仁斎」がある。
English: In addition, in the "Nanboroku" there is a description that 'During the period of Joo, yojohan zashiki had been partially improved, replacing haritsuke (fixed walls which are pasted paintings on paper) to tsuchikabe (clay wall), wooden latticework to one of bamboo, and the Koshiita (baseboard wood paneling and finishing trims) of Shoji has been removed, and toko is covered with a thinner coating or plain wood, and the room with the interior above is called "Kusa no Zashiki" (hut of grass; tea hut).'
Japanese: 『南坊録』には更に「紹鴎になりて、四畳半座敷ところどころ改め、張り付けを土壁にし、木格子を竹格子にし、障子の腰板をのけ、床の塗りふちをうすぬり、または白木にし、之を草の座敷と申されしなり」とある。
English: The words, 'replaced haritsuke to tsuchikabe' mean the haritsukekabe (wall surface of a fixed door, Fusuma sliding screen, or wooden wall pasted paper and cloth) pasted torinokogami (an eggshell colored, handmade paper with a smooth, glossy surface), which is also called Fuku-shoji (sub-shoji) and used as a zashiki wall of Shoin-zukuri.
Japanese: 「張り付けを土壁に」とあるのは、鳥の子紙を張ったはめ込み式の張り付け壁の事で、副障子ともいい、書院造りの座敷の壁面として使用された。
English: He incorporated the style of a tea hut into tea room using a clay wall, a window with takekomai (the lath used on top of rafters beneath sheathing and roofing materials) and a bamboo lattice in the window.
Japanese: 茶室の壁を土壁とし、土壁の下地である竹小舞（こまい）を見せた窓を開け、窓に竹の格子を付けるなど、草庵の風情を意匠に取り入れた。
English: The existing tea room which is considered as being made by SEN no Rikyu is the Taian (tea room) of Myokian Temple in Shimo-Yamazaki located south of Kyoto.
Japanese: 千利休の手になると伝えられる茶室で実在するのは、京の南にある下山崎の妙喜庵にある待庵である。
English: It is said that Hideyoshi TOYOTOMI, who fought against Mitsuhide AKECHI, ordered Rikyu to build it in 1582.
Japanese: 天正10年（1582年）明智光秀と戦った豊臣秀吉が利休に造らせたものと伝えられている。
English: Guests enter from nijiriguchi (an exceedingly small entrance for guests in a rustic style tea ceremony room) which is 78.78 cm high and 71.51 cm wide.
Japanese: 客は、高さ二尺六寸、幅二尺三寸六分の躪口（にじりぐち）から茶室に入る。
English: It is considered too large for Rikyu's nijiriguchi, but a guest has to bend forward to enter.
Japanese: 利休の躪口としては大きいとされるが、それでも身をかがめて入らねばならない。