nntsuzu/KFTT huggingface dataset:
English: Besides the Japanese drum, it is a work with a lot of percussion instruments of Japan, however the second movement is a Japanese drum solo (single drum, single drummer technique).
Japanese: 太鼓以外にも多くの日本の打楽器が登場する作品だが、第2楽章は太鼓ソロ（単式単打法）。
English: The influence by heterophony of polyrhythm or the influence by kecak of irregular accent, etc., and the grammar of a composer's initial work is splendidly reproduced with just one Japanese drum.
Japanese: 複層リズムによるヘテロフォニーや不規則なアクセントによるケチャの影響など、作曲者の初期作品の語法が和太鼓ひとつで見事に再現されている。
English: Mitsuaki SATO: "Ruten-shokusei" (Flux weaves) (2006) is an ensemble of Japanese drums, Tsugaru-jamisen (three-stringed Japanese banjo of Tsugaru), and gamelan.
Japanese: 佐藤三昭：『流転織成』和太鼓、津軽三味線、ガムランによるアンサンブル（2006年）
English: By 2006, there were already more than 100 creative Japanese drum pieces, and new ones are being announced continuously, with more than 50 groups playing them.
Japanese: 2006年に和太鼓創作曲100曲を越え今も尚発表を続け、それらの演奏団体は５０団体を越える。
English: Maki ISHI: "Mono-prism" for the Japanese drum and orchestra (1976)
Japanese: 石井真木：日本太鼓とオーケストラのための『モノプリズム』（1976年）
English: Among pieces from the same composer, there are also "Monochrome" and "Monochrome II" for the Japanese drum.
Japanese: 同じ作曲者の作品に日本太鼓のための『モノクローム』・『モノクロームII』もある。
English: Isao MATSUSHITA: "Hi-Ten Yu" a concerto for the Japanese drum and orchestra (1993 - 1994)
Japanese: 松下功：和太鼓とオーケストラのための協奏曲『飛天遊』（1993-94年）
English: Akira IFUKUBE: "Rond in Burlesque for Wa-daiko and Band" (1983)
Japanese: 伊福部昭：『倭太鼓とオーケストラのためのロンド・イン・ブーレスク』（1983年）
English: Early October: Tomioka donto-matsuri Festival (Tomioka City) (held every other year, next time is 2008)
Japanese: 10月上旬：富岡どんとまつり（富岡市）（隔年開催、次回は2008年）
English: Mid May: Japanese Drum Festival at Kanda Festival (Chiyoda District) (held every other year, next time is 2007)
Japanese: 5月中旬：太鼓フェスティバル＠神田祭（千代田区）（隔年開催、次回は2007年）
English: January 6 (Sunday): Taiko-matsuri in Saitama Super Arena (Japanese Drum Festival in Saitama Super Arena) (Chuo Ward, Saitama City), sponsored by Japan Taiko Association
Japanese: 1月6日（日）：太鼓祭inさいたまスーパーアリーナ【さいたまスーパーアリーナ】（さいたま市中央区(さいたま市)）/主催日本太鼓協会
English: Mid November: Tokyo-no-Taiko (Japanese Drums in Tokyo) "Bachi-no-Kyoen" (Resonance performance by drumsticks) (various groups in Tokyo take their turn to perform on stage)/sponsored by Tokyo Taiko Foundation
Japanese: 11月中旬：東京の太鼓『撥の響演』（東京都内各地で持ち回り開催）/主催東京都太鼓連盟
English: November 23 (national holiday): Tokyo Tama Taiko-matsuri Festival (various groups in Tokyo take their turn to perform on stage)/sponsored by the steering board of directors for Tokyo Tama Taiko-matsuri Festival
Japanese: 11月23日（祝）：東京多摩太鼓祭り（東京都多摩地区内各地で持ち回り開催）/主催東京多摩太鼓祭り運営理事会
English: It gives 'meal' a ceremonious purpose.
Japanese: 「食事をとる」という行為自体に儀式的な意味合いを持たせているのが特徴。
English: Since the Meiji period, these manners have been out of fashion, and we can only see a trace of them during formal ceremonial occasions such as a coming-of-age day, marriage, or funeral ceremonies (for example, san-san-kudo, when the bride and the groom drink sake during a wedding ceremony).
Japanese: しかし明治時代以降ほとんど廃れてしまい、現在では冠婚葬祭などの儀礼的な料理にその面影が残されている程度である（婚礼の際の三々九度など）。
English: In addition, examples where a restaurant uses the term improperly can often be seen (there are examples of naming the delivery box lunches 'formal arranged meals' for only a marriage or a Buddhist service).
Japanese: 更に、肝心の料理店自体が用語の使い方を誤っている例がしばしば見られる（単なる婚礼や法事の会席料理や仕出し弁当に「本膳料理」という名前を付けている例がある）。
English: During the Kamakura period, there was a ceremony in which samurai presented the dish 'Ohan' to his master shogun at the beginning of the New Year.
Japanese: 鎌倉時代、武家の間には「おう飯」（※「おう」は「土」偏に「完」）という正月に御家人から将軍に料理を献上する儀式があった。
English: At first, it was just a simple dish like carp, however, during the Muromachi period when Samurai dominated the economy and politics, the shogunate moved to the capital where the cultural influence of the court nobles ran deep; not only the number of dishes increased, but more eleaborate ideas were put into the meals.
Japanese: 当初は鯉一匹など簡単な物であったが、室町時代になり武家の経済的政治的優位が確立し、幕府政治の本拠地も公家文化の影響が深い京に移るに至って、料理の品数も増え、料理自体にも派手な工夫が凝らされるようになった。
English: Especially, after becoming 'onari' for receiving the Muromachi Shogunate, it gradually developed into a feast.
Japanese: 特に室町幕府の将軍を接待する「御成」が盛んになってからは次第に宴会料理の形式が整えられていった。
English: Records show that it may consist of 7 dishes of food; namely shikisankon (three trays of drink and food), zoni (vegetable soup containing rice cakes), honzen (the first tray), ninozen (the second tray), and sannozen (the third tray), and the scale ranged from a mouthful container just like a suzuributa (a lid of an ink stone) to a large-scale banquet.
Japanese: 式三献、雑煮、本膳、二の膳、三の膳、硯蓋からなり、大規模な饗宴では七の膳まであったとの記録もある。
English: However, most of these dishes were for 'show,' those in fact for eating were not that many.
Japanese: ただし、特徴的なのはこうした膳の多くが「見る」料理であり、実際に食べる事ができる料理は決して多くは無かった。
English: This Honzen ryori (formally arranged meal) was just ceremonial; after this was the Noh play and the Noh farce, then a light meal and sake was served such as udon (Japanese thick white noodles) and thin wheat noodles which was the actual feast.
Japanese: この本膳料理は少なからず儀礼的な物であり、この後に能や狂言などの演技が行われつつ、後段と呼ばれるうどんや素麺といった軽食類や酒肴が出されて、ここで本来の意味での酒宴になった。
English: A menu might have one soup and three side dishes, one soup and five side dishes, two soups and five side dishes, two soups and seven side dishes, three soups and five side dishes, three soups and seven side dishes, or three soups and eleven side dishes.
Japanese: 献立としては一汁三菜、一汁五菜、二汁五菜、二汁七菜、三汁五菜、三汁七菜、三汁十一菜などがあったとされる。
English: The most basic form is a combination set of trays; the honzen (the first tray) has seven dishes (seven kinds of food), the ninozen (the second tray) has five dishes (five kinds of food), and the sannozen (the third tray) has three dishes (three kinds of food).
Japanese: もっとも基本的な形は、本膳には七菜（七種の料理）、二の膳には五菜（五種の料理）、三の膳には三菜（三種の料理）を配膳するものである。
English: During mid Muromachi period, complicated honzen ryori (formally arranged meal) emerged from schools specializing in preparing cuisine.
Japanese: 室町時代の中期頃には、複雑になった本膳料理を専門に調理する料理流派が成立した。
English: 'The Ogusa school' and 'the Shinshi school' were famous, and each "secret recipe," such as "The record of what Ogusa-dono said," was inherited from master to student.
Japanese: 「大草流」「進士流」が有名で、『大草殿より相伝之聞書』など師匠から弟子へ一子相伝の料理の”秘法”を伝えていた。
English: Manner specialist wanted to fix the table manners for honzen ryori (formally arranged meal), so a how-to book by the Ogasawara school called "Shokumotsufukuyo-no-maki" (a book for taking meals) was published.
Japanese: 一方、礼法家の立場からは、本膳料理の食事作法を定めるようになり、小笠原流の『食物服用之巻』などのハウツー本が生まれた。
English: Suzuributa, appeared during the Edo period, and was a peculiar menu, its popularity associated with the spread of Shippoku cuisine (special Chinese cuisine in Nagasaki Prefecture, to which Japanese cooking methods were introduced) and sugar.
Japanese: 硯蓋は、江戸時代に出現したもので、卓袱料理や砂糖の普及とも絡んでいると思われる特異な献立である。
English: The dishes served to Suzuributa may be sweets such as kinton (mashed sweet potatoes), yokan (a bar of sweetened and jellied bean paste), kanten-gashi (agar-used confectionary); these are called confectionary cuisines.
Japanese: 硯蓋に出される料理はきんとん、羊羹、寒天菓子等の甘味類（料理の一品として出されるため料理菓子とも呼ばれる）。
English: Or Suzuributa may be dishes of tsukudani (boiled foods in sweetened soy sauce) such as kamaboko (boiled fish paste), burdock, or little fish; these are foods ready for preservation, as the guests were used to taking the Suzuributa home.
Japanese: あるいは蒲鉾、牛蒡や小魚の佃煮といった保存の効く食物が多く、これらは賓客が持ち帰る慣わしであった。
English: Datemaki (a rolled omelet mixed with fish paste), a familiar osechi food (special food for New Years in Japan), is often put out as Suzuributa, since the texture and the manufacturing method is very similar to that in Nagasaki, which is called 'sponge cake boiled fish paste' and it seems that the relationship among these three is high.
Japanese: ちなみに、御節料理としてお馴染みの伊達巻も硯蓋でよく出された料理といわれ、長崎では食感や製法の類似性から「カステラかまぼこ」とも呼ばれており、この三つの関連性は高いと思われる。
English: Although it looks like hassun (a tray of about 24cm square for serving several dishes) in kaisei-ryori (a light meal served before a ceremonial tea), hassun is eaten in situ (this is called "kuikiri (eating up)"), also the dishes supplied are good with sake, however, as mentioned previously, Suzuributa are confectioneries or food ready for preservation.
Japanese: 懐石における八寸に似ているが、八寸がその場で食べて（これを食い切りという）、料理も酒肴に近い物が供されるが、硯蓋は前記のように菓子類や保存性の高い食品が盛られる。
English: In Kansai, Suzuributa is called kuchidori (a mouthful dish of assorted delicacies); the contents are similar, but the custom is to eat in situ there.
Japanese: 関西では硯蓋の料理を口取りといい、内容は似ているがその場で食べる慣わしであった。
English: Karesansui (dry landscape) is a style of Japanese garden or Japanese painting.
Japanese: 枯山水（かれさんすい）とは日本庭園や日本画の様式・風のひとつである。
English: Since a dry landscape is a waterless garden, there are no ponds or streams, rather it is a garden where landscape scenery is expressed with sand and stones, etc.
Japanese: 枯山水は水のない庭のことで、池や遣水などの水を用いずに石や砂などにより山水の風景を表現する庭園様式。
English: For example, white sand and small stones are used to represent water, and a bridge is built over it to suggest that there is water below.
Japanese: 例えば白砂や小石を敷いて水面に見立てることが多く、橋が架かっていればその下は水である。
English: It was traditionally used as part of a design technique for a garden; some gardens of a mansion palace were partly dry landscaped, some excursion style gardens with an actual pond of a feudal lord's (daimyo) mansion, also included a dry landscape.
Japanese: 従来の庭園でも技法として庭園の一部に用いられ、寝殿造庭園でも枯山水の部分を含み大名屋敷に造られていく回遊式庭園も枯山水を含んでいることがあった。
English: However, after it was adopted by Zen temples, dry landscape were created as independent gardens.
Japanese: ただし、禅宗寺院で用いられて以降、独立した庭園として造られるようになった。
English: Although Japanese gardens had been built with water, with the emergence of the dry landscape garden style, it became unnecessary to have water in a garden.
Japanese: 日本庭園は水を得られる場所に築くものであったが、枯山水様式の登場後は必ずしも水を使わなくとも造園が可能になった。
English: Gardens such as those inside Seihou-ji Temple (the south garden has a path around a pond with a fountain, the north garden has a dry landscape) and Daitoku-ji Temple are famous.
Japanese: 西芳寺（下の方は池のある池泉回遊式庭園で上の方に枯山水庭園がある）や大徳寺の庭などが有名である。
English: In particular, the rock garden in Ryoan-ji Temple does not use any plants and it is surrounded by a fence and uses only white sand and 15 stone configurations, that have been various theories on the interpretation of this design.
Japanese: 特に龍安寺の石庭は草木を用いず塀に囲まれた庭に白砂と15個の石組のみで表現した特異なもので、その解釈を巡っては様々な説が唱えられている。
English: The above are dry landscape gardens based upon a bed of sand, however, there are also some dry landscapes called "the style of a dry land (kochi-shiki)," that use only stone configurations, and an example is the Anyoin-teiken Garden of Taisan-ji Temple (Kobe City).
Japanese: 以上はいずれも砂庭を基本とする枯山水であるが、太山寺(神戸市)の太山寺安養院庭園のように砂を用いず石組だけで風景を表現する枯池式と呼ばれる枯山水も存在する。
English: The style of a Japanese garden is classified into three types; a pond garden with small artificial hills (pond fountain garden), a garden with dry landscape, and tea garden (garden outside a ceremonial tearoom).
Japanese: 日本庭園の様式は、築山泉水庭（池泉庭園）、枯山水庭園、茶庭（露地）の3つに分類される。
English: The 'Island' built by SOGA no Umako at the banks of the Asuka-gawa River, around AD 628 when Empress Suiko had ruled for 28 years, was the oldest Japanese garden on record, and it seems that the style was followed in building Prince Kusakabe's dwelling 'Island Palace,' which enjoys a natural scenery arranged with an island in a pond, bridge, a pond beach and a rough shoreline.
Japanese: 推古天皇28年（620年）頃、蘇我馬子が飛鳥川畔に作った「島」が日本庭園の最も古い記録で、その流れを受けたと思われる草壁王子の住居「島の宮」は中島、橋、池汀、荒磯を配置した自然風景を描写したものとされる。
English: However, in the Nara period, the garden at East Palace of Heijo Imperial Palace has seascape scenery, streams, etc. expressed with stones.
Japanese: ただし、奈良時代に入り平城宮の東院の庭園は海景、流水など、水辺の景色を石を使って描写したものであった。
English: During the Heian period, the Shinsen-en Garden and the imperial villas in Kyoto's suburbs have wide ponds, however, Japanese gardens had so far adopted a style based on landscapes representing natural scenery including actual water.
Japanese: 平安時代、神泉苑や洛外の離宮など池が広大になるが、ここまで水を含む自然の景色を描写する地割りを基本として、日本の庭園の様式は形作られた。
English: When the Zen monks were building these gardens in the backyards inside large Buddhist temples, the thought of Zen Buddhism, art, and culture from the Asian Continent, were introduced together with the tradition of Japanese gardens.
Japanese: この日本の庭園の伝統の上に禅がその寺院の伽藍のなかに後庭を作庭するとき、禅宗思想、大陸から渡来した思想、芸術、文化を多く取り入れた。
English: Moreover, when Buddhist temples were built in a city where the water supply was not adequate, garden making became consolidated with the well developed characteristic dry landscape style.
Japanese: また、水利のよくない都市地域に寺院が造成されるとき作庭は集約化されたものとなり、特徴的な様式が発達した。
English: Thus, this idealization of scenery, the basis of landscape gardening in Japan, gave birth to sharp expressions of 'dry landscape.'
Japanese: こうして日本の造園の根本である風景の理想化がもっとも先鋭表現されて生まれたのが、庭園の様式「枯山水」である。
English: When thoroughly investigated the abstract representations of natural features such as mountains, rivers, and waterfalls, there may be one stone that represents a mountain, or scenery as a whole that represents the entire universe, so this is an abstract art similar to miniature landscapes on a tray, or a watery ink painting.
Japanese: 自然に存在する数多くの山や川、滝などのなかから特徴的な姿の抽象的表現を極限までつきつめると、石1つで山1つあるいは風景全体ひいては全宇宙を表すとされる盆石や水墨画などと同様に抽象美術としてみなされる。
English: Strongly influenced from Soseki MUSO's concepts of garden design, Yoshimasa ASHIKAGA favored the landscape gardener Zenami over others.
Japanese: 夢窓疎石の作庭思想に強く影響を受けた足利義政は山水河原者・善阿弥を寵愛した。
English: Suiin-ken House's (literally, "Shaded eaves for Sleeping") small garden, that Zenami made with a landscape painting style, was praised highly in the "Inryo-ken House Diary", however, technical developments of garden designs during the Muromachi period were greatly attributed to landscape gardeners.
Japanese: 善阿弥が造った山水画風の睡蔭軒の小庭は『蔭涼軒日録』にて絶賛されているが、室町時代の作庭技術の発達には山水河原者が多く関与している。
English: Later, this was partially used in gardens of feudal lords (daimyos), however, abstraction aesthetics and art introduced from the West during the prewar days produced a posture that gropes for the abstract native art of Japan, and attention was focused from this perspective.
Japanese: のちには大名庭園においても一部用いられたが戦前には西洋から導入された抽象美学・芸術が日本の土着の抽象芸術を模索する姿勢をつくりだし、その視点から注目されていった。
English: From the viewpoint of abstract art, Japan can boast about its garden design style to the world, that also contains a mysterious Oriental image that meets the expectations of what Western culture pursues, and it has become famous worldwide.
Japanese: 抽象芸術という観点から日本が世界に誇る庭園様式とみなされて世界に発信されていくが、西洋文化が求めた東洋の神秘的イメージに合致して世界的にも有名になった。
English: The stoicism that decoration is abolished with unnecessary waste being cut out, is an idea that is in tune with the aesthetics of a modernistic view, that has become a garden style that represents Japan.
Japanese: 装飾を廃して無駄をそぎ落としたストイシズムがモダニズムの美学、近代主義的なまなざしを受けて、日本を代表する庭園様式となる。
English: During the early Showa Period, aesthetics together with modernism were used for the garden designs by Mirei SHIGEMORI, in 1939, this was first used in the Hojo Garden (literally "Head monk's Garden") of Tofuku-ji Temple in Kyoto.
Japanese: 昭和初期おいて近代主義モダニズムに通じるその美学が注目されるに至り、重森三玲によって自身が作庭する庭園に用いて、昭和14年には京都東福寺方丈庭園にその端緒を採り入れる。
English: During the prewar days, Takuma TONO twice tried to introduce special issues in a journal of landscape gardening, after the war, for instance in 1959, Kenzo TANGE created a rock garden in the Kagawa Prefecture Public Office Building, and the sculptor Isamu NOGUCHI also created a garden inside the Paris UNESCO Hall from 1956 to 1959, a courtyard inside the Chase Manhattan Bank from 1961 to 1964, California Scenario and others using the dry landscape style.
Japanese: 以降は、戦前期に戸野琢磨は専門雑誌に2度に渡って特集を組んで紹介に努め、戦後は例えば丹下健三が1959年に香川県庁舎の石庭を生み出し、彫刻家イサム・ノグチも1956年から1959年にかけて作庭したパリ・ユネスコ会館の庭園や1961年から1964年にかけて作庭したチェイスマンハッタン銀行中庭、カルフォルニア・シナリオなど、枯山水形式を採り入れた庭を生み出している。
English: Similarly, from the hands of sculptor Masayuki NAGARE, the replica garden in Ryoan-ji Temple was made to resemble New York's Brooklyn Botanic Garden, moreover, Taro OKAMOTO also mentioned Ryoan-ji Temple, Saramon (Sand Ripples) of Ginkaku-ji Temple and Koin-zan Mountain of Saihou-ji Temple in his book "Nihon-no-Dento" (Tradition of Japan, 1956, Kobunsha Publishing).
Japanese: 同じく彫刻家の流政之の手でニューヨーク・ブルックリン植物園に龍安寺のレプリカ庭園がつくられ、また岡本太郎も著書『日本の伝統』（1956年、光文社）で龍安寺、銀閣の沙羅紋、洪隠山を取り上げている。
English: It can be inferred that, in recent years, gardens with sand ripples designed by Peter Walker inside Harima Science Garden City and Center for Advanced Science and Technology were inspired by such influence.
Japanese: 近年では播磨科学公園都市・先端科学技術センターにおけるピーター・ウォーカーらの砂紋を配した庭空間デザイニングにその影響を読み取ることが出来る。
English: The term 'karesansui (dry landscape)' first appeared as a term in garden design in "Sakuteiki" (Garden Design Recording) (also called "Senzaihisho" (The Secret Excerpt of Gardening)), however, according to the afterword of "Gunshoruiju" edited by FUJIWARA no Yorimichi and TACHIBANA no Toshitsuna, the term first appeared in Yoshitsune KUJO (also called Yoshitsune KYOGOKU).
Japanese: 「枯山水」という字が作庭の用語として最初に現れる文献は『作庭記』（『前栽秘抄』）で、藤原頼通の子・橘俊綱の編集とされる（『群書類従』の奥書によれば九条良経（京極良経）である）。
English: The pronunciation of the Kanji characters were not attached, therefore in Sutemi HORIGUCHI's opinion, it should be read as 'karesenzui.'
Japanese: これには読み仮名が振っていなく、堀口捨己は「カレセンズイ」と読むと意見している。
English: It is thought that 'karesansui' written here refers to the style of how to put the stones or ornamental garden rocks in the corner of a garden, which is called 'the Heian period style of dry landscape' or 'the early style of dry landscape' as to distinguish it from the 'Hiraniwa karesansui' (a style of dry landscape in a flat Japanese garden without hills), at the same time, there is the opinion that there is no need to distinguish them because they are all the same style.
Japanese: またここで記されている「枯山水」は庭園のなかの1区画に置く石、景石の置き方の様式を指していると考えられ、これを「平安時代式枯山水」「前期式枯山水」と呼び後世の「平庭枯山水」と別のものと把握しようとする意見と、同じ流れであり分ける必要はないとする意見がある。
English: There is a viewpoint that the garden in Sanjo-in (the Sanjo Imperial House) as written in the paragraph of year 1026 of "Eiga monogatari" (The Tale of Eiga) volume 12 is a present day 'dry landscape garden.'
Japanese: 『栄花物語』巻12の玉村菊の長和5年（1026年）の項に書かれている三条院の庭を現在でいう「枯山水」であるとする見方がある。
English: This was a word thought to refer to something like bonsai (dwarfed tree in a pot), different from what 'karesansui' refers to nowadays; for example, it may have become the origin of the garden style of miniature landscapes on a tray like the rock garden of Ryoan-ji Temple, however, the connection is not understood.
Japanese: これは盆栽のようなものを指す言葉と考えられ現在の「枯山水」が指すものとは別のものを指す言葉と考えられるが、これがたとえば龍安寺の石庭など盆石風庭園の流れの元になっているのかもしれず、繋がりはわかっていない。
English: Because it was introduced from China during the Tang Dynasty, it should be called, 'Karasansui (Tang Dynasty landscape)' and the kanji characters were inferred.
Japanese: 唐（胡）から渡来したものだから「唐山水」と呼ぶべきだとして呼ばれる字と推測されている。
English: In the chapter November 9, 1446 of "Gaun nikken-roku" (the Diary of Zuikei SHUHO of Shokoku-ji Temple, the Gaun Mountain person), it was written that rice-cake sweets without water added, eaten by the Chinese barbarians are called Tang's hill and water, however, the relationship to 'karasansui' is not well understood.
Japanese: 『臥雲日件録』の文安3年10月12日(旧暦)（1446年10月31日）の項に中国の夷人が食す水を入れない餅菓子を唐山水と呼ぶ記述があるが、それとの関係もよくわかっていない。
English: In "oraimono" (primary textbooks in the style of corresponding letters), there was a description of 'karesansui (dry landscape)' with furigana (attached Japanese syllabary) of 'furusensui.'
Japanese: 『往来物』に、枯山水に「フルセンスイ」と振り仮名を振ってある記述がある。
English: In 1743 (or 1735) "Chikuyama-teizo-den" (Records on artificial hill gardening), which is said to be the origin of "Chikuyama-sansui-den" (Records on artificial hill and water), there was a description of 'karemizugata (waterless shape).'
Japanese: 享保28年（1735年）の『築山庭造伝』の元になったといわれる『築山山水伝』に「枯水形」の記述がある。
English: It is thought to be mean what we called karesansui nowadays.
Japanese: これは、現在でいう枯山水が指すものと同じものを指す言葉であると考えられる。
English: In "Niwatsukuri-fushin-sho" (question book of garden design), which was handed down on the Island of Ishigaki, written around 1800, 'karasenzui' was written.
Japanese: 石垣島に伝わる寛政12年（1800年）頃に書かれた『庭作不審書』に、「から泉水」（カラセンズイ）の記述がある。
English: This word refers to artificial hill landscape or seascape where water is not used, thus it is thought to refer to the same thing that we call karesansui (dry landscape) nowadays.
Japanese: 水を用いない築山山水、海乃景を指して使っており、現在でいう枯山水が指すものと同じものであると考えられる。
English: This is a book written without any relationship to the natural environment of Okinawa, and Yoshikawa suggests that this term was spread to Okinawa at that time.
Japanese: 沖縄の自然環境とは無関係に書かれた本で、吉川はこの用語がこの時代に沖縄まで伝わったことを示すものと示唆している。
English: In addition, Yoshikawa shows interest as to why it was not called 'Sora (Empty)' or 'Kara (Tang)' but 'Kara.'
Japanese: また「空」でも「唐」でもなく「から」と記述してあることに、吉川は関心を示している。
English: In the 1830's "Kiyu-tenran" (a joyful Imperial inspection), it was written that dry landscape is not pronounced as 'furusensui' or 'karasensui' but should be pronounced as 'kosensui.'
Japanese: 天保元年（1830年）の『嬉遊天覧』に、「枯山水」は「フルセンスイ」とも「カラセンスイ」とも読むのではなく「コセンスイ」と読むべきだという記述がある。
English: In "Enrinsosho" (library of garden forestry) and "Meiji teien-ki" (record of gardens of the Meiji Period) of the Meiji Period and the Taisho Period, the Japanese syllabary of dry landscape garden was written as 'karasensui'; Yoshikawa considers 'karesansui' this pronunciation is comparatively new.
Japanese: 明治・大正期の『園林叢書』『明治庭園記』には枯山水の読み仮名は「カラセンスヰ」と振ってあり、「カレサンスイ」という読み方は比較的新しいと吉川は考察している。
English: Shirabyoshi is a type of singing and dancing performance developed from the late Heian period to Kamakura period.
Japanese: 白拍子（しらびょうし）は、平安時代末期から鎌倉時代にかけて起こった歌舞の一種。
English: Many Shirabyoshi are mentioned in "The Tale of Heike" (The Tale of the Taira family), a war chronicle written in the early Kamakura period, and they are described as follows.
Japanese: 複数の白拍子が登場する鎌倉時代前期の軍記物語『平家物語』では、白拍子について下記のように解説している。
English: "The origin of Shirabyoshi is thought to have been when two women (Shima no Sensai and Waka no Mae) started to perform dances dressed as men at some point during the reign of the retired Emperor Toba."
Japanese: 「鳥羽院の時代に島の千歳（せんさい）、和歌の前という2人が舞いだしたのが白拍子の起こりである。」
English: "Because a suikan (a plain kimono worn by worn by male court nobles) and a tate-eboshi (a tall, upright type of formal headwear worn by male court nobles) were worn together with a shirosayamaki (a sword decorated with a vine or a similar material in a sheath with a silver fitting), it was called otoko-mai (a male dance) at first."
Japanese: 「初めは水干を身につけ、立烏帽子をかぶり、白鞘巻をさして舞ったので、男舞と呼んだ。」
English: "Later, when the tate-eboshi and a sword were no longer used and the performer wore only a suikan, the performance became known as shirabyoshi (white rhythm)." (Excerpts from the chapter in "The Tale of Heike" called 'Gio'.)
Japanese: 「途中で烏帽子、刀を除けて、水干だけを用いるようになって白拍子と名付けられた。」（「祇王」の章）
English: Shirabyoshi is a dance irrespective of gender, however, it is often danced mainly by women or children.
Japanese: 白拍子は、男女問わずに舞われたものであったが、主として女性・子供が舞う事が多かった。
English: In Shinto rituals, men and women kannabi (people who serve and sing to invite the gods) dance from the old days, thus, when a kannabi is possessed by god, there may be occasionally cases where the gender is temporarily switched.
Japanese: 神事において古くから男女の巫が舞を舞う事によって神を憑依させた際に、場合によっては一時的な性転換作用があると信じられていた。
English: When YAMATO Takeru no Mikoto conquered Kumaso (a tribe living in the ancient Kyushu district), he dressed himself as a woman, and when Empress Jingu conquered sankan (three countries in old Korea), she dressed herself as a man, that symbolized the moment when they are possessed by god.
Japanese: 日本武尊が熊襲征伐において女装を行い、神功皇后が三韓征伐の際に男装を行ったという説話も彼らが巫として神を憑依させた事の象徴であったという。
English: Afterwards, shrine maidens traveled on foot to propagate religion and performed the dance, then it changed gradually to the performing arts of prostitutes who were influenced by the tradition of a shrine maiden disguising as a man, who excelled in dancing like a man were generally called shirabyoshi.
Japanese: このうち、巫女が布教の行脚中において舞を披露していく中で、次第に芸能を主としていく遊女へと転化していき、そのうちに遊女が巫以来の伝統の影響を受けて男装し、男舞に長けた者を一般に白拍子とも言うようになった。