nntsuzu/KFTT huggingface dataset:
English: In addition, it was assembled in the style of jigoku-gumi (hell-like assembly) in which vertical and horizontal crosspieces were set in the same style as present day kumiko, which is said to be a very elaborate technique.
Japanese: しかも現在の組子と同じ縦横の骨を交互に組付ける地獄組で、大変手のこんだ作り方であるという。
English: Kinpeki-shohekiga are deep colored pictures on partitions (paintings on fusuma, haritsuke kabe or folding screens) painted using ultramarine (sea blue), copper rust (verdigris), byakuroku (whitish green), cinnabar (vermilion) and kozumi (deep Sumi Japanese ink) over a gold foil background, a new style of painting written by Eitoku KANO.
Japanese: 金碧障壁画は、金箔地に群青・緑青・白緑そして朱や濃墨などを用いた、濃彩色の障壁画（襖や貼り付け壁、屏風などに描かれた絵）で、狩野永徳によって新しい画法が創造された。
English: Ninomaru densha (the hall of the second fortress) in the Nijo-jo Castle and the meeting place in the Nishi Hongan-ji Temple are famous for the pictures on partitions of Shoin-zukuri style.
Japanese: 書院造の障壁画として、有名な二条城の二の丸殿舍や西本願寺の対面所がある。
English: A magnificent, gorgeous and panoramic kinpeki-shohekiga was painted consisting of haritsuke kabe, tsukeshoin (the exterior corner of the alcove on the veranda in an aristocratic style dwelling), kobusuma (a small fusuma) of chigaidana (set of staggered shelves), fusuma as partitions and walls above nageshi (a horizontal piece of timber in the frame of a Japanese-style house) in the front tokonoma (the front alcove).
Japanese: 正面床の間の、貼り付壁や付け書院、違棚の小襖や間仕切りとしての襖、長押の上の壁面などをすべて構成要素として利用した、雄大で華麗なパノラマ金碧障壁画が描かれている。
English: Eitoku KANO created a new style of painting that was a compromise between the technique of Chinese and that of traditional yamato-e paintings, as a patronized painter of the Ashikaga Shogun family.
Japanese: 狩野永徳は、足利将軍家の御用絵師として、漢画の技法と伝統的大和絵の技法を折衷した新しい画法を創造した。
English: The pictures drawn on partitions in aristocratic residences and temples during the Heian period were Kara-e paintings (a Chinese style painting) on which historical events, scenery and customs in China were drawn, but he chose the beauty of nature and seasonal landscapes in Japan as subjects and established his peculiar style of painting.
Japanese: 平安時代の貴族の邸宅や寺院に描かれた障壁画は、中国の故事や風物を描いた唐絵であったが、日本の四季の花鳥風月や風景を主題に選び、独特の画法を確立した。
English: In addition, in order to show a sequential panoramic painting, he exercised his ingenuity in removing zenkin, fabrics used for a wide hem decor, from fusuma and using a small wall above nageshi as a sequential screen.
Japanese: また、連続したパノラマ画面を構成する為に、襖から軟錦（ぜいきん）という幅の広い装飾の縁取りの裂地（簾みすや畳にも装飾の縁取りが付けられた）を取り除き、さらに長押の上の小壁も連続した画面として利用するなどの工夫がなされた。
English: Kinpeki-shohekiga was not only valued as a simple decoration of Shoin (reception room) but also utilized as a stage effect to naturally symbolize status and power.
Japanese: 金碧障壁画は、書院の単なる装飾的な価値だけでなく、当然ながら地位権力を象徴する演出として利用された。
English: Later in the Azuchi-Momoyama period splendid kinpeki-shohekiga were painted at the Azuchi-jo Castle of Nobunaga ODA, Juraku-dai Residence (Juraku-dai Castle-like Residence) and Osaka-jo Castle of Hideyoshi TOYOTOMI, which were utilized to show off their powers with pride.
Japanese: のちの安土桃山時代には、織田信長の安土城や豊臣秀吉の聚楽第や大阪城などに壮麗な金碧障壁画が描かれ、権力の誇示に利用されていく。
English: Eitoku KANO flexibly corresponded to the changes of the times and gained the favor of persons in power during that period, and as a result, almost all these paintings on partitions were painted by him and his pupils.
Japanese: 狩野永徳は、時代の変革に柔軟に対応して、時の権力者に巧みに取り入り、これらの障壁画のほとんどを狩野永徳とその一門で描いている。
English: In addition, the Kano School had kept its power as the head of edakumi (painters) of the Tokugawa Shogun family during the Edo period, which showed that they had also a perceptive sense for politics.
Japanese: ついでながら、狩野派一門は江戸時代徳川将軍家の画工の長として、勢力を維持し続け、画才の他に鋭い政治感覚も合わせて持ち合わせていた。
English: Sotatsu TAWARAYA, Korin OGATA and other painters succeeded and further developed the technique of paintings of the Kano School, so that kinpeki-shohekiga had a large impact on the art in Japan.
Japanese: 俵屋宗達や緒方光琳などが、狩野派の絵画技法を継承発展させて、金碧障壁画は日本美術に実に大きな影響を与えた。
English: In the jodan no ma (a raised floor level) of Shoin-zukuri style, there is an alcove and a tokowakidana (a shelf made beside the tokonoma) in front, tsukeshoin (the exterior corner of the alcove on the veranda in an aristocratic style dwelling) on the side of hiroen (wide veranda), and chodaigamae (a built-in ornamental doorway found in the raised area of a formal style reception suite) on the right side.
Japanese: 書院造の上段の間は、正面に床と床脇棚が並び、広縁の側に付書院、そして右側に帳台構えを設ける。
English: Chodai-gamae consists of the four fusuma paintings on gold foil background, being set in a threshold which is one step higher than tatami, a kamoi (a generic term for a head jamb, normally having tracks for sliding doors or partitions) which is one step lower than nageshi and three hotate (a thin board or narrow post set on each side of a door or gate to provide a neat finish), and the central two fusuma-e paintings are pulled apart to the right and left, while the outside two paintings are fixed.
Japanese: 帳台構えは、敷居を畳より一段上げ、鴨居を長押より一段低く設け、三本の方立（ほたて）をたて四枚の金碧画の襖絵を入れ、中央の二枚は左右に引き分け外側の二枚は嵌め殺しとなっている。
English: These fusuma are wooden doors which are made in the style of so-called Tofusuma door making, and a tassel that is used as a handle, is braided in agemaki-musubi (agemaki knot) and is hung down.
Japanese: この襖は板戸で、いわゆる戸襖仕立てで、引き手にはあげまき（総角）を組緒に結び房を垂らしている。
English: The threshold and kamoi of chodai-gamae, pillars and hotate were all finished in black-lacquer.
Japanese: 帳台構えの敷居鴨居や柱、方立てなど、すべて黒塗りに仕上げられている。
English: In the "Teijo-zakki" (Teijo's memorandums) of Sadatake ISE written about Yusoku kojitsu (court and samurai rules of ceremony and etiquette) during the Edo period, there is a description of chodai-gamae as follows.
Japanese: 江戸時代の有職故実を記した伊勢貞丈の『貞丈雑記』に帳台構えの記述がある。
English: It is described that it was a bedroom and a storeroom and that some people called musha-gakushi (a room to hide a warrior).
Japanese: 寝室であり納戸でもあり、説によっては武者隠とも称されたことが記されている。
English: The Shinden-zukuri style is a hall style without any inner partition, and a sole small nurigome (a part of the main building, which is separated and surrounded by thick walls, and used for a bed room or a storeroom) room was a bedroom.
Japanese: 寝殿造では、内部間仕切のない大広間様式であり、唯一の塗篭めの小室が寝室であった。
English: After the mid-Heian period, in an aristocrat's residence, people slept in cho in the main house.
Japanese: 平安中期以降は貴族の邸宅では、母屋に置かれた帳（ちょう）に寝るようになった。
English: Cho is movable furniture for sleeping, made with low chodai (also called hamayuka) set up in columns at four corners and a cloth is hung around it.
Japanese: 帳とは、低い帳台（浜床ともいう）の四隅に柱を立て周囲に布を垂らした、可動式の寝所であった。
English: The chodai-gamae in Shoin-zukuri style meant that a small room called nurigome and fusuma-shoji were the alternative of 'cho,' and it was also called 'chodai (帳代 = alternative of cho)' and used as a bedroom.
Japanese: 書院造様式の帳台構えは、当初は塗篭めと襖障子の小室が「帳」の代わりという意で、帳代ともいわれ寝室としても利用された。
English: This bedroom secured the owner's own safety in case of an emergency during periods of war.
Japanese: この寝室としての利用は、戦乱期の主人の万一のための、身の安全を確保するものであった。
English: It seems that during the Muromachi period, when political stability was achieved, it was used as a storeroom where important household goods and arms were kept rather than being used as a bedroom.
Japanese: 室町期も安定期になると、寝室としての利用よりも、納戸として重要な什器や武具が収納されたようである。
English: In periods of political stability, the original function of chodai-gamae became unclear and had been used as an ornamental form of room to symbolize status, power, and authority.
Japanese: 時代が安定してくると、帳台構えは本来の機能上の役割があいまいとなり、地位権力権威を象徴する、装飾形式として継承されていった。
English: The inside of Shinden-zukuri style during the Heian period was a hall style with a wooden floor in which many columns stood in a row with no structural partition.
Japanese: 平安時代の寝殿造の内部は、丸柱が立ち並ぶだけの、構造的な間仕切りが無い、板敷きの床の大広間形式であった。
English: This inside open space was divided with kicho, folding screens and shoji according to daily needs of residents, ceremonies of annual events and banquets, and staged the space adequately by placing chodai, tatami and other furniture for every occasion.
Japanese: 開放的な空間を、住む人の日常生活の都合や、季節の変化や年中行事の儀礼や接客饗宴などに応じて、几帳や屏風や障子などによって内部を仕切り、帳台や畳その他の調度を置いて、その都度適切な空間演出を行った。
English: It is said that the word 'Shitsurai' used as yamato-kotoba (words intrinsically used in Japan), the letter 'shi' is '為' (shi) which means 'do,' the letter 'tsurai' means 'keeping company with' or 'being balanced with,' and consequently, it means 'to do' 'keeping company with' or 'being balanced with' in accordance with the situation.
Japanese: やまと言葉としての「しつらい」の「し」は「為（し）」で「する」という意であり、「つらい」は「つれあう」や「つりあう」の意で、その時々の情況に応じて「連れ合う」あるいは「釣り合う」ように「する」ことだという。
English: In order to be in harmony and be reconciled with the formality of a resident's lifestyle and each ceremony for annual events, a lot of furniture used for partitions and screens were arranged (which were called 'shitsurae').
Japanese: その時々の季節や住む人の格式や生活様式、行事としての儀式の状況などに調和し融和するように、さまざまな障屏具で「しつらえ」た。
English: Shoji, a major partition for 'shitsurae,' is the original form of today's 'fusuma.'
Japanese: 「しつらえ」のための主要な間仕切りであった障子が、今日の「ふすま」の原型をなしている。
English: As a partition for 'Shitsurai' in the Shinden-zukuri style during the Heian period, there were shitomido (latticed shutters) and misu (a bamboo blind) hung along the shitomido.
Japanese: 平安時代の寝殿造りの「しつらい」の間仕切りとしては、まず建物の外部と内部との隔てる蔀戸、蔀戸に沿ってかける御簾がある。
English: The room was subdivided by kicho, which was said to be a screen made of tobari, as it were, and hikimono or zejo which were similar to a stage curtain made of silk or cloth as a partition.
Japanese: 室内には、いわば帷で作った衝立ともいえる几帳を置いたり、絹や布地の引き幕に近い間仕切りの引帷や軟障で小空間を間仕切った。
English: In addition, there were folding screens, tsuitate-shoji (shoji or fusuma with a stand, which is easy to carry) and fusuma-shoji made with a wooden lattice pasted silk and cloth, later Japanese paper and black-lacquered hem as a developed form of tsuitate-shoji.
Japanese: さらには屏風や衝立障子、衝立障子の発展的形態として、木格子の表裏に絹や布地、後に和紙を張り黒塗りの縁をつけた衾障子などを用いた。
English: Among them, as to the 'shoji', which were the most important partitions for 'shitsurai,' various forms of shoji were invented during the Heian period.
Japanese: なかでも、「しつらい」の間仕切り具として最も重要な「障子」は、平安時代にさまざまな形式の障子が考案されている。
English: Various materials were used to create various shoji such as kinu-shoji (silk shoji), nuno-shoji (cloth shoji), kami-shoji (paper shoji), ita-shoji (board shoji), sugi-shoji (cedar shoji) and fuku-shoji (also called oshi-shoji and was used as a wall), and akari-shoji and others were devised near the end of the Heian period.
Japanese: 仕上げ材料によって絹障子、布障子、紙障子、板障子、杉障子、そして副障子（押障子ともいい壁として用いた）や平安末期には明かり障子などが工夫されている。
English: Shoji made with kumiko-goshi (a lattice made of fine materials) with silk cloth or a paper pasted on the both sides were called fusuma-shoji (衾障子 or 襖障子).
Japanese: 木の組子格子の表裏に絹や和紙を張り重ねた障子が衾障子あるいは襖障子と呼ばれた。
English: Paper and cloth were also used for ita-shoji as foundation, which was fuku-shoji used as a wall placed in a bay.
Japanese: 板障子も板を下地として紙や布を張ったもので、柱間にはめ込んで壁として用いた副障子である。
English: Judging from the development of styles as partition fittings, the original 'shoji' was tsuitate-shoji on a stand which could be said to be an original form of screen.
Japanese: 間仕切り建具としての発展的形態から見ると、「障子」は、衝立の原型といえる台脚の上に立てる衝立障子が原型である。
English: Among tsuitate-shoji, the tsu-shoji (tori-shoji) which has a square window, a screen, and bamboo blind on it to be seen from the inside and others were also invented.
Japanese: 衝立障子の中に、四角に窓を開け簀を張りさらに御簾をかけて、内側から向こう側が見えるようにした通障子（透障子）なども工夫されている。
English: In order to arrange ('shitsuraeru') partitions to harmonize with each situation as 'shitsurai,' the movable form is convenient.
Japanese: 「しつらい」として時々の情況に調和させるように「しつらえる」ためには可動形態が便利である。
English: In the Shinden-zukuri style for a multipurpose space, even the places in a lavatory and bath were not fixed.
Japanese: マルチパーパス空間としての寝殿造りは、便所や湯殿さえ固定されていなかった。
English: The fuku-shoji was a built-up type shoji and was a movable wall which could be built up or removed in accordance with 'shitsurae.'
Japanese: 副障子は建て込み式の障子で、「しつらえ」に応じて建て込んだり、取り外したりできる可動式の壁であった。
English: Based on this fuku-shoji, the torii-shoji (kamoi-shoji) was devised to move in two directions by drawing on the two grooves of kamoi and threshold, and it led to the original form of present day 'fusuma' and was called fusuma-shoji (衾障子 or 襖障子).
Japanese: この副障子を、鴨居と敷居という二本の溝を設けて、引き違いに動くように工夫したのが鳥居障子（鴨居障子）で、今日の「ふすま」の原型となったもので、衾障子・襖障子と呼ばれた。
English: These inventions of various shoji that divided internal space were a significant turning point which led to a change of living based on the definite separation between public and private matters (formal and private matters) in the Shinden-zukuri style residence.
Japanese: このような内部空間を間仕切る多様な障子の発明は、寝殿造りの住宅の公と私の明確な分離に基づく、住まい方の変化をもたらした重大な転機となった。
English: The development to the separation and independence of a small space with a specific function or purpose created the idea of 'shitsu' (room).
Japanese: 特定の機能や目的を備えた小空間への分離独立への展開は、「室」という概念をもたらした。
English: It seems that the original form of akari-shoji, which was invented near the end of the Heian period, originated from chodai, which was a skylight ceiling in the bedroom.
Japanese: 平安末期に明かり障子が誕生しているが、その原型は帳台と呼ばれる寝所の明かり取りの天井に由来していると思われる。
English: Chodai was a place to sleep which was set up around the center of Shinden (a place to sleep), and it was one step higher because of bedding tatami and was surrounded by screens and bamboo blinds, on four columns.
Japanese: 帳台は、寝殿のほぼ中央に設けられた寝所で、畳を敷いて一段高くして、四本の柱を立て、帷や御簾を立て回した。
English: Although it was a place to sleep, it was also used as a living room during daytime, so that 'raw silk' was pasted on the one side of kumiko lattice to let a light pass as a skylight.
Japanese: 寝所とは言っても、昼間は居間として使用するため、組子格子の片面に光を透かす「すずし」（生絹）を張った天井を設けて、天井の明かり取りとした。
English: Then, the 'skylight' of the lattice ceiling of this chodai was the original form of later akari-shoji, and the 'ceiling' itself was the origin of the ceiling made of cedar boards in the 'shitsu' of later Shoin-zukuri style divided into small spaces depending on their purpose and function.
Japanese: そして、この帳台の格子天井の「明かり取り」が後の明かり障子の原型であり、「天井」そのものが、後の書院造りで目的や機能別に小空間に間仕切りされた「室」に、杉板天井が設けられる原型ともなっている。
English: In the "Kagaku-shu" (a Japanese dictionary made in the Muromachi period) written in 1444, the origin of the name of torinoko (literary, a child of a hen) was described as 'The color of paper looks like that of an egg of a hen, so it was called torinoko.'
Japanese: 鳥の子の名の由来については、文安元年（1444年）成立の『下学集』では、「紙の色　鳥の卵の如し　故に鳥の子というなり」と説明している。
English: Since there is also a description of 'usu-yo' (thin torinoko-colored paper) distinguished from torinoko, it seems that torinoko referred to thick ganpishi (thick Japanese paper made from fibers taken from the bark of a clove-like bush).
Japanese: 同様に「薄様」についても説明があり、鳥の子と区別していることから、鳥の子は厚手の雁皮紙（がんぴし）を指していたと考えられる。
English: Because there are no explanations about atsu-yo (thick torinoko-colored paper) in both dictionaries, it seems that the atsu-yo of ganpishi had been called torinoko since the Heian period.
Japanese: 両集ともに厚様の説明が欠けていることから、平安時代から和紙（がんぴし）の厚様を鳥の子と呼んでいたと考えられる。
English: In the "Wakansansaizue" (a Japanese encyclopedia made in recent times), torinoko was described as 'being classified into three kinds of atsu-yo, chu-yo (medium torinoko paper), and usu-yo' and all ganpishi were called torinoko.
Japanese: 近世の『和漢三才図絵』には、鳥の子に関して「俗に言う、厚葉、中葉、薄葉三品有り」と記して、すべての雁皮紙を鳥の子と呼んでいる。
English: The paper of torinoko had been mainly used as ryoshi (paper for writing) for eiso (paper on which a tanka or a haikai is written) and hand-copying of sutras, and sometimes used for official documents.
Japanese: 鳥の子紙は、主に詠草（えいそう）料紙（りょうし）や写経料紙（りょうし）に用いられ、時には公文書にも使用された。
English: Especially, its surface was smooth, glossy, and beautiful with good durability, so that it was preferably used to make a book for permanent preservation by the upper class.
Japanese: 特に表面がなめらかで艶があり、耐久性に優れた美しいものであるため、上流階級の永久保存用の冊子を作るのに好んで用いられた。
English: In the "Daigenkai" (literally, great sea of word, a Japanese dictionary) published during the Meiji period, there is a description of 'a paper made from the bark of kozo (a mulberry paper) and ganpi (a clove-like bush) as materials. Today, mitsumata (a paper bush) is used.'
Japanese: 明治期の『大言海』には、「楮（こうぞ）トがんびトノ皮ヲ原料トシテ、漉キタル紙。今ハ三椏（みつまた）ヲ用イル」とある。
English: According to the "Kefukigusa" (a book for haikai including manners and selection of works) published in 1645 during recent times and the "Shokoku yorozukaimono choho-ki" (a guide book for shopping in various provinces) and the "Seishi ichiran" (a list of paper making) published in from 1688 to 1703, Najio in Settsu Province, Koyama in Omi Province, Tenkawa in Izumi Province and Suo Province other than Echizen Province are described as famous producing districts.
Japanese: 近世の正保2年（1645年）刊行の『毛吹草』や元禄期の『諸国万買物（よろずかいもの）調方記』『製紙一覧』などによると、鳥の子の名産地として、越前国の他に摂津国名塩（なじお）、近江国小山、和泉国天川と周防があげられている。
English: In the "Boeki biko" (remarks on trade) published in the beginning of the Meiji period, Kiryu in Omi Province and Ou in Izumo Province are listed.
Japanese: 明治初期の『貿易備考』には、近江国の桐生、出雲国の意宇の名をあげている。
English: Besides, Izu, Mino, and Tosa Provinces are also famous producing districts of ganpishi, where the name of 'torinoko' is not used.
Japanese: このほかに伊豆国・美濃国・土佐国も雁皮紙（がんぴし）の産地として知られているが、「鳥の子」の紙名は用いていない。
English: The usu-yo of ganpishi, called hishi (an old name of ganpishi), was especially used by noblewomen during the Heian period and the word 'usu-yo' became a popular name.
Japanese: 斐紙（ひし）と呼ばれていた雁皮紙（がんぴし）は、特にその薄様が平安時代に貴族の女性達に好んで用いられ、「薄様」が通り名となっていた。
English: As opposed to the kokushi (paper made from the fibers of the mulberry tree, which is native to Japan and widely cultivated) and hoshogami (heavy Japanese paper of the best quality) made of kozo (mulberry tree) and seen as masculine paper, ganpishi, which was gentle to touch and fine textured, were favored as ryoshi for eiso.
Japanese: 男性的な楮の穀紙や奉書紙に対して、肌合いが優しくきめの細かい雁皮紙は、詠草（えいそう）料紙（りょうし）として愛用された。
English: In the end of Heian period, kokushi and ganpishi made of kozo replaced mashi (paper made of hemp), which was difficult to and time-consuming to handle, and especially usu-yo of ganpishi became mainstream.
Japanese: 平安末期には、取り扱いが難しく手間のかかる麻紙（まし）が作られなくなり、楮の穀紙や雁皮紙にとって代わられ、雁皮紙も特に薄様が主流となっていた。
English: This ganpishi became to be called torinoko since the period of the Northern and Southern Courts (Japan).
Japanese: この雁皮紙が鳥の子と称されるようになるのは、南北朝時代(日本)頃からである。
English: In the "Zatsuji-ki" (record of miscellaneous affairs) written by Hironori AZIRO (around 1328) there is a description that said; 'I copied the Lotus Sutra on torinoko colored paper,' in the section of 1356 in the "Gukan-ki" (the diary of Michitsugu KONOE in Chinese characters), there is a description as 'ryoshi toriko,' and furthermore, in the section of 1431 in "Kanmon-nikki" (the diary of Gosuiko-in) the word 'ryohi toriko' is seen as well.
Japanese: 足代弘訓の『雑事記』（嘉暦3年（1328年）頃に成立）に「鳥の子色紙に法華経を書写した」との記述があり、『愚管記』の延文元年（1356年）の条に、「料紙鳥子」とあり、さらに後崇光院の『看聞日記』永享7年（1431年）の条にも「料紙鳥子」の文字が見える。
English: As the age of feminine culture of the nobility in the Heian period changed to the age of masculine society of the samurai class in the medieval times, more atsu-yo of ganpishi came to be used, called torinoko paper as opposed to usu-yo.
Japanese: 平安の女性的貴族文化の時代から、中世の男性的武士社会にはいって、厚用の雁皮紙（がんぴし）が多くなり、薄様に対してこれを鳥の子紙と呼んだ。
English: The name torinoko became generalized since the end of the Kamakura period, and all ganpishi came to be called torinoko in the recent times.
Japanese: 鎌倉末期から鳥の子の名称が一般化し、近世に入ると雁皮紙（がんぴし）はすべて鳥の子紙と呼ぶようになった。
English: In the "Nobutane-kyo-ki" (the diary of Nobutane NAKANOMIKADO there is the word 'Echizen-dain' (torinoko paper put into a pattern of clouds and also called daunshi) in the section of 1488, and the word of 'Echizen torinoko' in section of 1502.
Japanese: 『宣胤（のぶたね）卿記』の長享2年（1488年）の条に「越前打陰」（鳥の子紙の上下に雲の紋様を漉き込んだもので、打雲紙ともいう）、文亀2年（1502年）の条に「越前鳥子」の文字が記されている。
English: The word of 'Echizen torinoko' is often seen in other historical documents, and torinoko paper made in Echizen Province was popular as good quality paper during the mid-Muromachi period.
Japanese: 「越前鳥子」の文字は他の史料にも多くあり、室町中期には越前の鳥の子が良質なものとして、持てはやされるようになっている。
English: Originally, the paper made of kozo such as hoshogami was used for official documents, whereby torinoko paper was seldom used for them.
Japanese: 元来、公式の文書は奉書紙などの楮（こうぞ）紙が用いられ、鳥の子紙が公式文書に使用されることはまれであった。
English: In the "Yoshufu-shi" (a geographical description of Yamashiro province) there is a description bout 'Kaga hosho (heavy Japanese paper made in Kaga province) and Echizen torinoko as being the best paper,' and in the "Wakansansaizue" there is a description of torinoko of Fuchu in Echizen Province; 'the surface of the paper is smooth and easy to write on, is firm enough to endure long storage, this could be called the king of paper.'
Japanese: 『雍州府志（ようしゅうふし）』には、「およそ　加賀奉書　越前鳥の子、是を以て紙の最となす」とあり、『和漢三才図絵』には、越前府中の鳥の子は、「紙肌滑らかにして書きやすく、性堅くして久しきに耐え、紙王というべきか」とある。
English: In the recent times, the term 'usu-yo' disappeared and all ganpishi came to be called torinoko.
Japanese: 近世にはいると、「薄様」の名も消えて、雁皮紙をすべて鳥の子と呼ぶようになる。
English: The northern limit where it was possible to grow ganpi (a plant of Thymelaeaceae) was Kaga Province, and as torinoko paper became popular in Kyoto, good torinoko paper had been produced by polishing further the excellent skills from limited materials in Kaga and Echizen Provinces, which built their names as a famous producing district.
Japanese: ガンピ（ジンチョウゲ科の植物）の生育する北限は加賀で、都で鳥の子の名声が上がるにつれて、加賀国や越前国では限られた原料で、優れた技術にさらに磨きをかけて良質な鳥の子を生産して名産地としての名を築いた。
English: Because of the shortage of materials, mitsumata and kozo, similar to ganpi, were mixed together, and torinoko paper is made using mitsumata at present.
Japanese: 材料難からガンピに近縁の三椏や楮を混ぜるようになり、現在では三椏（みつまた）を原料として漉かれている。
English: During the Edo period, watermark paper (a transparent paper), combined with pattern paper (for cutting out patterns), and adding more fibers on the paper produced a technique for processing a wrinkled pattern.
Japanese: 江戸時代には、透かし紋様紙、漉き込み紋様紙（抜き紋様）、置き紋様紙（漉き掛け）あるいは皺紋加工などの技術が工夫されている。
English: The so-called Echizen bijutsu-shi is combined with the technique of these basal papers and decorative processing, and also called suki-moyo fusuma-shi (pattern-including fusuma paper).
Japanese: これらの地紙の技法と装飾加工を組み合わせたものが、いわゆる越前美術紙であり、漉き模様ふすま紙という。
English: The maniai-shi was a term that referred to fitting the width of fusuma-shoji, and was about 0.96 m wide.
Japanese: 間似合紙とは、襖障子の幅に間に合うという意から名付けられたもので、幅三尺二寸、であった。
English: The length varied depending upon historical age, and it had become longer ranging from eight-rank papering, six-rank papering to four-rank papering (about 0.49 m) around 1883.
Japanese: 長さは時代により異なり、襖に対して八段貼り、六段貼りと徐々に大きくなり、明治16年（1883年）頃で四段貼りで、一尺六寸であった。
English: The large-size fusuma paper, which was so-called sanroku-ban (about 0.9 m wide and 1.80 m long sheet), originated from the ganseki-toshi (rock-tapped look karakami) which was characterized by the wrinkle pattern during the Edo period.
Japanese: 襖障子を一枚貼りで貼ることができる、三尺幅で長さ六尺の大判ふすま紙、いわゆる三六判は、江戸の皺紋を特徴とする岩石唐紙で始まっている。
English: The taihei-shi (literary, peace-paper) was a modification of ganseki-toshi and its further modification was the rakusui-shi (literary, happy water paper) produced in the Meiji period.
Japanese: 岩石唐紙をさらに改良したものが泰平紙で、これをさらに明治時代に入って改良発展させたものが楽水紙である。
English: During the Meiji period, as the rakusui-shi in Tokyo had been highly estimated, the development of large-size fusuma paper was very popular even in the Echizen region which took pride in the long tradition, and the tesuki-fusumabari-taishi (handmade large paper for fusuma) was invented at the Takano paper mill in Shinzaike, Imadate-cho, Fukui Prefecture (present Shinzaike-cho, Echizen City) in 1885.
Japanese: 明治時代に入っての東京の楽水紙の評価が高まるにつれ、長い伝統に誇りを持つ越前でも一枚貼りの大判のふすま紙の開発に関心が高まり、明治18年（1885年）に福井県今立町新在家（現越前市新在家町）の高野製紙場で、手漉襖張大紙を漉くことに成功している。
English: Working on improving technique and by actively entering products in industrial expositions, the manager of Takano paper mill began to produce fusuma paper with a shoshi-ki machine (a paper-making machine) in 1907 and invented a new shoshi-ki machine that was able to make double layered paper.
Japanese: 高野製紙場では、勧業博覧会などにも積極的に出品して、技術改良にも熱心に取り組み、明治40年（1907年）抄紙機で襖紙の製造を開始し、明治42年（1909年）には、二重・三重の漉き掛けをこなす抄紙機も開発している。