nntsuzu/KFTT huggingface dataset:
English: The third head, Toraie (Michitomo) NISUKE enjoyed Nobunaga ODA's favor, and the fourth head, Heizo Masauji and the fifth head, Genuemon Masayuki were successively allowed to use purple shirabeo.
Japanese: 三世二助虎家（道知）は織田信長の贔屓を受け、四世平蔵正氏、五世源右衛門正幸は紫の調緒を許された。
English: However, as Masayuki had no children, Niemon Nobumitsu, who was a grandson of the second head of kotsuzumi-kata Nobuyasu OKURA, inherited the position of the sixth head of school.
Japanese: しかし、正幸に後嗣がなかったために、小鼓方二世大倉宣安の孫仁右衛門宣充が六世を相続した。
English: The school constantly performed ashirai tsuzumi for kotsuzumi-kata since then, and from the middle of Edo period, it received salary from the Owari Domain while residing in Nara.
Japanese: 以後は小鼓方のアシライ鼓として終始し、江戸時代中期以降は奈良に在住して尾張藩の扶持を受けた。
English: After the Meiji Restoration, the 15th head Shichizaemon joined Umewaka school by breaking the agreement of hayashi-kata and was deprived of the position of iemoto (the head of school).
Japanese: 維新後、十五世七左衛門が囃子方の申合せを破って梅若流に参加したため、家元の座を追われた。
English: As it had long been the ashirai tsuzumi of kotsuzumi-kata of Okura school, its tegumi is the most suitable one for the said school.
Japanese: 長らく小鼓方大倉流のアシライ鼓であったため、手組みはもっとも同流に適する。
English: In the Azuchi-Momoyama period, the first head Shozaemon Shigenaga ISHII who was a te-sarugaku (amateur Noh) player established the school in Kyoto under the guidance of master Kyuzaemon HINOKUCHI.
Japanese: 安土桃山時代に、京の手猿楽役者初世石井庄左衛門滋長が名人樋口久左衛門に師事して一流を興した。
English: In the Edo period, the family of Nihei ISHII and the family of Yaichi received salary from the Kaga Domain and the Owari Domain respectively while residing in Kyoto.
Japanese: 江戸時代には京都在住のまま石井仁兵衛家が加賀藩の、弥市家が尾張藩の扶持を受けた。
English: Its head family extinguished after the Meiji Restoration since the 10th Issai ISHII, who was called one of three masters of otsuzumi-kata along with Mataki TSUMURA (Kadono school) and Nenchi (然知) SHIMIZU (Takayasu school), had no children.
Japanese: 維新後、十世石井一斎は津村又喜（葛野流）、清水然知（高安流）とともに大鼓方の三名人と呼ばれたが、後嗣を欠いたために宗家は絶えた。
English: Less than ten players are registered with the Nohgaku Performers' Association, and they are performing mainly in Kyoto and Nagoya.
Japanese: 能楽協会には10名弱が登録される程度であるが、京都・名古屋を中心として活躍している。
English: The founder Kurobei Sadayuki (Nichiraku) KADONO learned from Heizo Masauji OKURA, who was the fourth head of the otsuzumi-kata of Okura school, and established the school with the help of Hideyori TOYOTOMI and Ieyasu TOKUGAWA.
Japanese: 流祖葛野九郎兵衛定之（日楽）は大鼓方大倉流四世大蔵平蔵正氏に学び、豊臣秀頼・徳川家康らの贔屓によって一家を成した。
English: The school once served for Yorinobu TOKUGAWA of Kishu Domain, but it later became the official performers for bakufu (Japanese feudal government headed by a shogun) at the behest of Hidetada TOKUGAWA and actively performed as the accompanist of Kanze school during the Edo period.
Japanese: 一時紀州藩徳川頼宣に仕えたが、後に徳川秀忠の命によって幕府御用となり、江戸時代には観世流の座付きとして活躍した。
English: However, Mataki TSUMURA, who was called one of three masters of otsuzumi-kata along with Issai ISHII and Nenchi (然知) SHIMIZU, and his leading disciple Kuen KAWASAKI maintained the school's traditional arts.
Japanese: しかし、石井一斎、清水然知とともに大鼓方の三名人と言われた津村又喜及びその高弟川崎九淵が流儀の芸事を預かって伝統を守った。
English: Many masters, including Yoshiki YOSHIMI, Toshio KAMEI, Noritake SEO and Tadao KAMEI, successively appeared after the death of Kuen, and the school is a prosperous one among the schools of otsuzumi-kata.
Japanese: 九淵の後にも吉見嘉樹、亀井俊雄、瀬尾乃武、亀井忠雄などの名手が輩出し、大鼓方のなかでも流勢の盛んな流儀である。
English: The school's bases are Tokyo and Kanazawa, and little less than 20 players are being registered with the Nohgaku Performers' Association.
Japanese: 流儀の地盤は東京と金沢で、能楽協会には20名弱の役者が登録されている。
English: Some products are decorated with nashiji (lacquer ware with a flecked effect), makie (Japanese lacquer sprinkled with gold or silver powder), raden (mother-of pearl inlay work) and/or byokin (Chinese name of makie), and first-class products are extremely beautiful.
Japanese: また裏梨子地、表蒔絵、螺鈿、描金などが施されることもあり、上手物は美麗をきわめる。
English: Funabashi suzuribako produced by Koetsu HONAMI, which was produced independently, is the most luxurious one that has komori kabusebuta (overlapping lid whose central part is raised) and makie-byokin decoration.
Japanese: 本阿弥光悦作の船橋硯箱は単独の作で、甲盛り被せ蓋、蒔絵描金の豪奢な代表であるとされる。
English: There used to be a practice under which a person showed a certain article to other persons by putting it on suzuribako or its lid.
Japanese: 物品を人に見せ示すのに、硯箱に載せて、また蓋に載せて出す慣習もあった。
English: There is a description in 'Utsuho monogatari' (The Tale of Utsuho) saying 'When Chunagon (vice-councilor of state) requested paper, someone handed a piece of yellowish paper and a piece of white paper by putting them on the lid of suzuribako.'
Japanese: 「宇津保物語」に、「中納言の君、紙もがなとの給へばきばみたる色紙一巻白き色紙一巻硯箱の蓋に入れて出されけり」とある。
English: Kokatsuji-bon or Kokatsuji-han (old type editions) are general terms for movable type imprints published in Japan from the Bunroku era (1592 - 1596) to around the Keian era (1648 - 1652).
Japanese: 古活字本（こかつじぼん）または古活字版（―はん）とは、文禄より慶安ごろまでの間に日本で刊行された活字印刷本の総称である。
English: Katsuji-bon (movable type imprints) published in late modern times are called 'Mokkatsuji-bon (wooden movable type imprints)' and are distinguished from Kokatsuji-bon.
Japanese: なお、近世後期に刊行された活字本については「木活字本」などと称して、古活字本とは区別する。
English: Also, Katsuji-bon made with the Western printing technique and instruments brought by missionaries called Kirishitan-ban (Jesuit Mission Press) are usually distinguished from Kokatsuji-bon.
Japanese: また宣教師によって齎された西欧式の印刷術・機具による活字本、所謂キリシタン版についても、通常は古活字本と区別して考える。
English: Kokatsuji-bon covered a variety of topics, but since type-printing itself went out of use soon, there are quite a few so-called rare books.
Japanese: 内容は多岐にわたるが、活字印刷そのものが早くに廃れたため、現在では稀覯本とされる書物が少なくない。
English: In a commonly accepted view, Kokatsuji-bon originated from Keicho Chokuhan-bon, published by imperial order using copper types that the Japanese army had plundered from Korea during the Bunroku campaign.
Japanese: 通説では、文禄の役の際に日本軍が朝鮮から略奪した銅版活字によって慶長勅版本が刊行されたのがその嚆矢とされる。
English: After that, wooden types (including Kana characters) started being produced in Japan, and Japanese and Chinese books were published in a wide range of subjects.
Japanese: 以後、国内で仮名文字を含む木製活字が製造されるようになり、和漢にわたる広い分野の書物が刊行された。
English: Among books in their early stage are Keicho Chokuhan, published by order of the Emperor Goyozei; Fushimi-ban and Suruga-ban editions, published by order of Ieyasu TOKUGAWA; and Yoboji-ban and Honkokuji-ban editions, published by temples.
Japanese: 初期には後陽成天皇による慶長勅版、徳川家康による伏見版、駿河版、あるいは要法寺版、本圀寺版など寺院の手によるものなどがある。
English: Although many of them were philanthropic publications made through the use of authority and financial power, later townspeople also started publishing imprints such as Saga-bon.
Japanese: 権威や財力を背景とした篤志的な出版が多かったが、後には嵯峨本のように町人の手になる業としての出版も行われるようになった。
English: Until around the Keian era, type printing had been rather widespread, but because the cost of publication increased due to the labor of setting up type for reprinting, typography gradually lost its position in the developing publishing industry and gave place to ordinary wood-block printing.
Japanese: 慶安ごろまでは比較的広い範囲で活字印刷がおこなわれたが、再版の際に活字を組みなおす手間が出版費を高騰させるなど、発展しつつあった出版産業のなかでしだいにその地位を失い、通常の整版本に座を譲っていった。
English: However, his wife who disliked mustachios said 'shave your dirty mustachios,' upon which the man got angry and slapped her.
Japanese: しかし髭の嫌いな女房は「そのむさい髭を剃って下さい」といい、怒った男は女房を打擲する。
English: Also, there are restaurants of this name as it means 'simplicity but utmost hospitality.'
Japanese: また「質素だが精一杯のもてなし」ということでこの名を冠した飲食店などもある。
English: A traveling monk asks for lodging for one snowy night at the house of Genzaemon Tsuneyo SANO, a poor old samurai who lives in Sano (present day Kamisano-machi, Takasaki City, Gunma Prefecture).
Japanese: 佐野（現在の群馬県高崎市上佐野町）に住む貧しい老武士、佐野源左衛門の家に、ある雪の夜、旅の僧が一夜の宿を求める。
English: Tsuneyo serves boiled rice mixed with millet and offers utmost hospitality by cutting and burning the potted plant that Tsuneyo has been taking great care of, saying that there is no firewood.
Japanese: 常世は粟飯を出し、薪がないからといって大事にしていた鉢植えの木を切って焚き、精一杯のもてなしをする。
English: Tsuneyo says to the monk that Tsuneyo has fallen into poverty due to embezzlement of his family but is willing to rush to Kamakura and fight for his life in case of an emergency.
Japanese: 常世は僧を相手に、一族の横領により落ちぶれてはいるが、一旦緩急あらばいち早く鎌倉に駆け付け命懸けで戦う所存であると語る。
English: It includes "Tomonaga," "Sanemori," "Yorimasa," "Tadanori," "Shunzei Tadanori," "Kiyotsune," "Michimori," "Atsumori (Noh)," "Ikuta Atsumori," "Tomoaki," "Tsunemasa," "Kanehira" and "Tomoe (Noh)."
Japanese: 『朝長』『実盛』『頼政』『忠度』『俊成忠度』『清経』『通盛』『敦盛(能)』『生田敦盛』『友章』『経政』『兼平』『巴(能)』
English: "Tomonaga," "Sanemori" and "Yorimasa" are called the three major shura as these three are especially pesante among them.
Japanese: この中で『朝長』『実盛』『頼政』は特に重い曲とされ、三修羅と呼ばれる。
English: The term "Kyoto Ongaku Hakurankai (Kyoto Music Expo)" refers to a music festival that has been held annually since 2007 in Umekoji-koen Park, in Kyoto Prefecture.
Japanese: 京都音楽博覧会（きょうとおんがくはくらんかい）とは、2007年より毎年開催されている京都府の梅小路公園で行われる音楽フェスティバル。
English: Umekoji-koen Park, the site of the event, is an urban park that's a 15-minute walk from Kyoto Station, which is located in the urban area of Kyoto.
Japanese: 会場である梅小路公園は、京都の市街地に位置する京都駅から徒歩15分の場所に位置する都市公園である。
English: The festival aims to contribute to the community by deepening relationships with the neighboring area and promoting regional development.
Japanese: 「近隣との結びつきや、地域振興により貢献していくお祭り」というスタンスを取る。
English: It differs widely from other big music festivals such as the FUJI ROCK FESTIVAL.
Japanese: FUJIROCKFESTIVALに代表されるような他の大型音楽フェスティバルとは大きく異なる。
English: Quruli, Jason Falkner, Liadan, Taraf de Haidouks, Tetsuhiro DAIKU, Kazumasa ODA, Fuchigami to Funato, and Cocco.
Japanese: くるり、ジェイソン・フォークナー、リアダン、タラフ・ドゥ・ハイドゥークス、大工哲弘、小田和正、ふちがみとふなと、Cocco
English: The song 'Bara no Hana (Rose),' on which Kazumasa ODA performed as a duet with Quruli in the festival, was recorded as the fourth number on the CD 'Sayonara Regret (Goodbye to Regret).'
Japanese: なお、小田和正とくるりのデュエットで歌われた「ばらの花」は、2008年9月3日に発売されたシングル「さよならリグレット」の4曲目に収録されている。
English: Quruli, The Real Group, rei harakami, Tetsuhiro DAIKU and the Carpenters, Asa, Kazumasa ODA, Haruomi HOSONO and the World Shyness, Humbert Humbert, and Lana and Flip.
Japanese: くるり、TheRealGroup、reiharakami、大工哲弘&カーペンターズ、アシャ、小田和正、細野晴臣&ワールドシャイネス、ハンバートハンバート、Lana&Flip
English: Kamiarai is a part of Shakkyo (Stone Bridge, Noh Play) in Kabuki (traditional drama performed by male actors) and is a shosa (conduct) in which a shishi lion bends forward and sways its head side to side with its long hair hung down in the front.
Japanese: 髪洗い（かみあらい）とは、歌舞伎の石橋(能)物で、獅子が長い毛を前に垂らし首を左右に振り回す所作。
English: The conduct was named as such because the shishi lion looks as though it was washing its hair when it bends forward and the hair swings with the tip of it touching the ground.
Japanese: ために毛が地についたままゆれて、髪を洗っているようにみえるところからこの名がついた。
English: In addition, in one of the divine services at the Amenomiya-Imasu-jinja Shrine in Amenomiya, Koshoku City, Nagano Prefecture, there is a ceremony in which a shishi lion, suspended upside down from a bridge with its head almost touching the river surface, sways its head side to side (refer to "Hashigakari" and "Amenomiya no watashi").
Japanese: なお、獅子の髪洗いは長野県更埴市雨宮（あめのみや）の雨宮坐神社の神事に、獅子が橋から水面すれすれに宙吊りになって獅子頭を振りまわす儀式（橋がかり、雨宮の渡しを参照）がある。
English: Kazura Noh is one of the programs of Noh theatrical performance, when the shite (the main actor of a Noh play) performs the roles of a beautiful woman, a scion of a noble family, or a heavenly being.
Japanese: 鬘能（かづらのう、かつらのう）とは、能の演目の中で、優美な女性や貴公子、天人などがシテの曲。
English: "Hajitomi" (Lattice Shutter), "Yugao" (Evening Faces), "Nonomiya" (Field Palace), "Sumiyoshimode" (Visit to Sumiyoshi Shrine), "Ochiba" (Fallen Leaves), "Genji Kuyo" (Buddhist ceremonies for Murasaki Shikibu's souls), "Matsukaze (Noh)" (Wind in the Pines)
Japanese: 『半蔀』『夕顔』『野宮』『住吉詣』『落葉』『源氏供養』（『松風(能)』）
English: "Hagoromo" (Celestial Robe), "Kocho" (Butterflies), "Yokihi" (Consort Yáng Guifei), "Soshi Arai Komachi" (Komachi Washing the Manuscript), "Sekidera Komachi" (Komachi at Seki-dera Temple), "Toboku" (Toboku-in Temple), "Teika" (FUJIWARA no Teika), "Sengan-ji" (Sengan-ji Temple), "Higaki" (Cypress Fence), "Uneme" (A Court Lady), "Ohara Goko" (The Emperor's Trip to Ohara), "Gio," "Hotoke no hara" (The Courtesan on Buddha Plain), "Yuya" (The Courtesan Yuya), "Senju," "Futari Shizuka" (The Two Shizukas), "Yoshino Shizuka" (Shizuka at Yoshino), "Eguchi" (Port of Eguchi), "Yugyo Yanagi" (The Priest and the Willow), "Mutsura" (In the Village of Mutsura), "Fuji" (The Spirit of the Wisteria), "Basho" (The Basho Tree)
Japanese: 『羽衣』『胡蝶』『楊貴妃』『草子洗小町』『関寺小町』『東北』『定家』『誓願寺』『檜垣』『采女』『大原御幸』『祇王』『仏原』『熊野』『千手』『二人静』『吉野静』『江口』『遊行柳』『六浦』『藤』『芭蕉』
English: Since this is the first performance, it is called shobanme-mono or ichibanme-mono (first-category plays) according to the style of Noh performance.
Japanese: 能上演形式においては初めに演じられることから初番目物や一番目物と言われる。
English: "Takasago (Noh)", "Oimatsu" (The Old Pine Tree), "Oyashiro" (Grand Shrine), "Iwafune" (A Rock Boat), "Ukon," "Ema" (The Votive Tablet), "Kamo," "Kureha," "Shiga," "Saiobo (Noh)" (The Queen Mother of the West), "Tamanoi" (Jewel Well), "Chikubushima" (Chikubu-shima Island), "Tsurukame" (Crane and Tortoise), "Naniwa," "Hakurakuten" (Bai Letian), "Himuro" (The Ice House), "Hojogawa" (Hojo-gawa River), "Mekari" (Harvesting Seagrass), "Yoro" (Nurturing the Aged)
Japanese: 『高砂(能)』『老松』『大社』『岩船』『右近』『絵馬』『賀茂（加茂）』『呉羽』『志賀』『西王母(能)』『玉井』『竹生島』『鶴亀』『難波』『白楽天』『氷室』『放生川』『和布刈』『養老』
English: Kiri Noh is one of the programs of Noh theatrical performance, when the shite (the main actor of a Noh play) performs the roles of Oni (ogre), Tengu (a long-nosed goblin), Tenjin (the heavenly god), Raijin (the god of thunder), Ryujin (the god of dragon), etc.
Japanese: 切能（きりのう）とは、能において鬼・天狗・天神・雷神・龍神などがシテとなる曲。
English: This program is the last, fifth performance among five Noh performances defined in the form of Noh program, therefore it is also called Kiri (cut off) Noh or gobanme-mono (the fifth-category play).
Japanese: 五番立においては最後の五番目に演じられることから、切能または五番目物と呼ばれる。
English: "Aizomegawa" (Aizome-River), "Oeyama" (Mt. Oe), "Kurama Tengu" (Tengu of Mt. Kurama), "Kurozuka," "Sesshoseki" (The Murder Stone), "Kokaji" (The Swordsmith Kokaji), "Shakkyo (Noh)" (Stone Bridge), "Shojo" "Tsuchigumo" (The ground-spider), "Toru" (MINAMOTO no Toru), "Nue" (Nightmare Bird), "Funa Benkei" (Benkei Aboard Ship), "Momijigari" (Viewing the Autumn Foliage)
Japanese: 『藍染川』『大江山』『鞍馬天狗』『黒塚』『殺生石』『小鍛冶』『石橋(能)』『猩々』『土蜘蛛』『融』『鵺』『船弁慶』『紅葉狩(能)』
English: The Shini-e is a Japanese woodcut print Ukiyo-e, (lit. Pictures of the floating world) produced and published for the commemoration of a famous actor or a writer when he passed away.
Japanese: 死絵（しにえ）は、役者、文学者などで有名なものが死去したとき、その冥福を祈るために版行された似顔絵の浮世絵である。
English: The oldest Shini-e is said to be the one published for the sixth Danjuro ICHIKAWA who died on June 16, 1799 at the age of 22, or the one for the fourth Denkuro NAKAMURA who died on September 27, 1799 at the age of 26.
Japanese: 現存するものでは寛政11年5月13日22歳で死去した6世市川團十郎のもの、8月28日26歳で死去した4世中村傳九郎のそれが最古のものであろうという。
English: It seems that this custom began around the time of these two examples and soon became popular, while it lasted until the time around the death of Sadanji ICHIKAWA in 1901; those prints were displayed and sold everywhere in book/print stores.
Japanese: おおむねこの頃から行われたらしく、明治34年市川左団次の死去した頃まで盛んに行われ、絵草紙屋の店頭に並べられた。
English: Shini-e was mostly published in Onishiki format (a large-sized, multi-colored print) on a Ichimai-mono, (a print printed on a single paper rather than using multiple papers attached to produce a large-sized paper) while earlier Shini-e sometimes used Hoso-e (a small woodprint) or Kan-Nishiki (a medium-sized Nishiki-e) formats.
Japanese: 初期は細絵や間錦などもあるが、多くは大錦で、しかも一枚物が普通であった。
English: The picture generally represents the figure holding the objects for the Buddhist service of the dead, such as Shikimi (Japanese star anise) or Juzu (prayer beads), or it depicts the figure in his successful role, while the print is often accentuated by writing his Dharma name, age of death, his death poem, or his memorial words on it.
Japanese: シキミや数珠を持った絵姿、舞台上での当たり役を描き、戒名、行年などを書き添えたもの、辞世の歌句、追善のことばをいれたものなどが一般的であった。
English: Throughout the end of Edo period to the early Meiji period, numerous number of Shini-e were produced, while its style and format often changed throughout its history.
Japanese: 文政以後から明治初めまでおびただしい数が出版され、構図も変化していった。
English: Sometimes Shini-e took a form of a joke or a cartoon; for example, a picture shows the figure sitting on a lotus pedestal, playing a role as a statue of Buddha.
Japanese: なかには漫画風にしたり、蓮台座という芝居というふうにいささかふざけた図柄もあった。
English: The competition for selling those prints were inevitable among resellers; since they tried to publish them as fast as possible to beat the competitors, the contents of the pictures (ex. Dharma name, age of death, the date of his death) were not well researched, and the information written on the pictures were often inaccurate or irresponsible.
Japanese: 販売上の競争も当然あり、少しでも早く版行しようと、戒名、死去月日、行年などをよく調べず、いいかげんなものさえある。
English: There were some cases that two actors were put together in one Shini-e, for those who played the role of a couple in a theatrical stage, and died one after another in real life.
Japanese: 舞台の夫婦役者であいついで死去した役者の場合、これをあわせて1つに描くこともなされた。
English: Since a female impersonator was represented as a female figure in Shini-e, it is difficult to distinguish the husband between the fourth Kikugoro ONOE (a female impersonator) and his wife put together in the picture.
Japanese: 女形は女性姿に描かれたから、4世尾上菊五郎夫妻の死絵はどちらが夫かわかりにくい。
English: It is a rare case to put a real-life husband and wife together in a Shini-e, compared to the case of a set-up husband and wife for a stage act.
Japanese: ただし俳優の夫妻を描いたものは舞台上の夫婦役とはちがってほかにはほとんどない。
English: It is a recipe in which eggplant is grilled over an open flame or on a grill, seasoned with a dash of soy sauce or ponzu soy sauce (soy source containing citrus juice) and garnished with some grated ginger or wasabi (Japanese horseradish).
Japanese: ナスを直火やグリルなどで焼き、すりおろしたショウガやワサビなどを添えて、醤油やポン酢などで味付けをする料理。
English: There are two ways for grilling eggplant, either by grilling the whole piece at once or by slicing it into flat pieces first.
Japanese: ナスの使い方には、丸ごと使う場合やあらかじめ平に切っておく場合がある。
English: (In case of grilling a whole piece, simply grill it until its skin gets completely charred, and then remove the charred skin before seasoning.)
Japanese: （丸ごと使う場合は皮が黒焦げになるまで焼き、味付け前に焦げた皮を取り除いておく）
English: There are variety of recipes for grilled eggplant depending on a family, by using noodle soup base or sprinkling shaved dried bonito over it before eating, for example.
Japanese: また、めんつゆをかけたり、鰹節をまぶすなど、家庭によって料理法は様々である。
English: Hoeki no ho is one of the Japanese robes of chofuku (clothes worn by the people who come to work at the court on a regular basis), and a ho (round-necked robe worn by members of nobility and the Imperial Court), which has sewn sleeve seams, an outer robe and fabrics called ran (brocade) running sideways around the hem.
Japanese: 縫腋袍（ほうえきのほう）とは日本の朝服のうわぎの一つで、腋が縫われ、裾周りに襴という裂を横向きにめぐらされている和服用語集のこと。
English: The origin of the Japanese 'chofuku' is "Shanfu" (everyday court dress) in Tang ('chofuku' in Tang was a different thing of the same name), and the robe of this Shanfu derived from Kohuku (traditional clothes for Kojin [who lived in Northern China in ancient times]) (according to "Meng Xi Bi Tan" (Dream Stream Essays)).
Japanese: 日本の「朝服」の祖形になったのは唐の「常服」であるが（唐の「朝服」とは同名異物）、この常服のうわぎは胡服の系統を引くものであった（夢渓筆談ほか）。
English: The robe of Kohuku originally had open sides, but since Yuwen Hu, an member of the Imperial Family in Northern Zhou, proposed to the government, this hoeki no ho was made (according to "Zuisho" (the Book of the Sui Dynasty), etc.).
Japanese: 胡服のうわぎは元来腋に開きのあるものだったが、北周の皇族の宇文護が襴をつけることを建言して以来、縫腋袍が成立した（隋書ほか）。
English: In drawings of the Tang period, one can see that many guarding officers and kangan (eunuchs) wore these robes with ketteki (1. unstitched, open-sided traditional Japanese clothing, or clothing with such an open side; or 2. a robe worn by military officials with a round collar, unstitched open sides and no ran) and civil officers used hoeki no ho with ran, but it wasn't necessarily appropriate to suggest so.
Japanese: 唐代の絵画によると警衛のものや宦官などが闕腋のうわぎを用い、文官などが有襴の縫腋袍を用いる例が多いが、すべてが沿うとも言い切れない。
English: In Japan, it is considered that 'kinu' in the chofuku for an imperial prince, members of the Imperial Family in the 'Garment Code' of the Yoro ritsuryo code (a code promulgated in the Yoro period) was hoeki no ho, and 'ao' in chofuku for military officers was ketteki no ho (an outer robe for military officers) and worn by military officers or children before genpuku (the coming-of-age celebration).
Japanese: 日本では養老律令の「衣服令」に親王・王(皇族)・文官の朝服に「衣」とあるものが縫腋袍、武官の朝服に「襖」とあるものが闕腋袍にあたると見られ、闕腋袍は武官や元服前の童子が使用した。
English: In the early Heian period, those of Ikai (court rank) or higher rank could wear hoeki no ho except for while on guard and those in Sanmi (Third Rank) or higher could wear hoeki no ho even while on guard.
Japanese: 平安時代初期に位階以上の者は警衛の時以外は縫腋袍を用いてもよくなり、また三位以上は警衛にあたっても縫腋袍を用いることになった。
English: The name 'hoeki' isn't popular in China, but in Japan this name was already found in "Wamyo-sho," a dictionary compiled during the Heian period.
Japanese: 中国で「縫腋」の名称は一般的でないが、日本では『和名抄』においてすでにこの名称が見られる。
English: The Super Kabuki is a modernized, contemporary Kabuki dance drama directed in a different manner from the original, classical Kabuki theatrical dance, which was introduced by the third Ennosuke ICHIKAWA in 1986.
Japanese: スーパー歌舞伎（－かぶき）は、市川猿之助(3代目)が1986年に始めた、歌舞伎とは異なる演出による現代風歌舞伎。
English: Shukuba Ichiya Yumekaido is a festival that takes place in Furuichi, Sasayama City.
Japanese: 宿場一夜夢街道（しゅくばいちやゆめかいどう）は、篠山市古市で行われる祭り。
English: It has received support from Hyogo Prefecture's 'power-up project' since 2008 and is held jointly with the neighboring district of Haganoshinden.
Japanese: 2008年からは兵庫県の「パワーアップ事業」の補助を受け、隣の地区である波賀野新田と共催し行われる。
English: Coinciding with Jizo-bon (an event to commemorate Jizo as the protector of children), fantasy scenes are created by lighting up various sites of interest along the old travel road and within the district using different types of lighting such as colorful chochin lanterns (Japanese paper lanterns), lanterns and 'tankoro,' a bamboo andon (paper-covered lamp stand), in Furuichi, Sasayama City, which still retains the characteristics of an old inn town.
Japanese: 地蔵盆の時期にあわせ、古い宿場町の面影を残す篠山市古市の旧街道沿いや地区内に色とりどりの提灯、灯篭、竹の行灯「たんころ」をはじめ様々な灯りを点し各所見どころをライトアップし、幻想的風景を浮かび上がらせている。
English: Furthermore, wind chimes are hung under the eaves of houses, orchestrating a world of light and sound.
Japanese: また家々の軒先に風鈴をつるすなどして音と光のコラボレーションを演出。
English: There is a recreation of 'Furuichi yaki (Furuichi ware),' which was lost over 200 years ago, with 60 wind chimes handmade by the local residents.
Japanese: 200年以上前に途絶えた「古市焼」の再現が地元住民の手による60個の風鈴によっても行われる。
English: There is an on-site sale of local traditional crafts, handicraft items and paintings inside general residential houses and stores.
Japanese: また、一般家屋内や商店の内部にて地元伝統工芸品や手芸品、絵画などの展示即売も行われる。
English: A wood-frame stage is set up in front of Furuichi Station (Hyogo Prefecture), and dances including Dekansho bushi are performed, thus creating a festive atmosphere.
Japanese: 古市駅(兵庫県)前では、やくらが組まれデカンショ節をはじめとする踊りが行われ祭り気分を盛り上げる。
English: Kayuzue is a stick made by shaving a piece of firewood that was not completely burnt when making kayu (rice porridge) on January 15.
Japanese: 粥杖（かゆづえ）は、正月15日に粥を煮た時の燃えさしの木を削って作った杖である。
English: It is also called 'kayu no ki' (rice porridge wood), but it's also known as iwaigi (celebration wood), bainoki, iwaibo (celebration stick), sachi no ki (wood of happiness) and kezurikake.
Japanese: 「粥の木」ともいい、また祝木、枚（ばい）の木、祝棒、幸の木、削掛ともいう。
English: In the Tohoku region, there is a custom of carving some pine into a phallic shape 42 to 45 cm in diameter and 90 cm in length, and hitting the buttocks of the newly wedded wife.
Japanese: 東北地方でマツの木で周囲1尺4寸から5寸、長さ3尺の陰茎形に作って、新妻の尻をたたくふうがある。
English: In Shinano Province, the base of a kayu no ki is split vertically into four at Koshogtsu (around January 15); a piece of rice cake, which goes into the rice porridge, is inserted between the split ends and is used to stir the rice porridge.
Japanese: 信濃国では粥の木の根本をよつわりにして小正月、粥に入れる餅を挟んで粥をかき回すという。