nntsuzu/KFTT huggingface dataset:
English: The use of this design for the other members of Imperial family including the Imperial Prince was restricted by the declaration of Dajokan, Grand Council of state, issued in 1869; each Imperial family uses their uniquely modified designs of Jushi-urakiku (Chrysanthemum with fourteen petals facing down) or Juroku-urakiku (Chrysanthemum with sixteen petals facing down) (e.g. the Arisugawanomiya family/the Fushiminomiya family) or the design of downsized Juroku-yaegiku (eightfold Chrysanthemum with sixteen petals) (e.g. the Chichibunomiya family/the Mikasanomiya family/the Kuninomiya family).
Japanese: 親王などの皇族はこの紋の使用が明治2年の太政官布告を以って制限され、大正15年の皇室令7号13条発布を経て十四裏菊や十六裏菊に独自の図案を加えたもの（有栖川宮家・伏見宮家など）や十六八重菊を小さな図案によって用いたもの（秩父宮家・三笠宮家・久邇宮家など）を各家の紋としている。
English: The design of Juroku-yaegiku (eightfold Chrysanthemum with sixteen petals) was officially designated as the crest of the Imperial family by the declaration of Dajokan (Grand Council of state)/Dajokantatsu dai 802 go (No. 802 of the transmittal of Dajokan) issued on September 30, 1869.
Japanese: 十六八重菊が公式に皇室の紋とされたのは、1869年（明治2年）8月25日(旧暦)の太政官布告・太政官達第802号による。
English: The declaration banned the use of Jurokuyo (the design with sixteen leaves) as Kikkamon of the family of Imperial Prince, and decided to replace the design with less number of petals such as Jushiyo (the design with fourteen leaves)/Jugoyo (the design with fifteen leaves) or Urakiku (the design facing down).
Japanese: 親王家の菊花紋として十六葉の使用を禁止し、十四葉・十五葉以下あるいは裏菊等に替える事とした。
English: Moreover, the use of Kikkamon by the family other than the Imperial family was banned by the declaration of Dajokan (Grand Council of state) no. 285 issued on August 3, 1871, and Jushiyo-hitoe-urakiku (Chrysanthemum with onefold blossom facing down and fourteen leaves) was defined as a model of the crest of the imperial family in declaration no. 286.
Japanese: また、1871年（明治4年）6月17日(旧暦)の太政官布告第285号で、皇族以外の菊花紋の使用が禁止され、同第286号で、皇族家紋の雛形として十四葉一重裏菊が定められた。
English: Later, Article 12 of Koshitsu Giseirei (the act that sets the ceremonies of the Imperial Court, crests of Imperial family, banners, seating arrangements in Imperial ceremonies, etc.) (Taisho 15 nen Koshitsurei Dai 7 go - No. 7 of the Imperial family's Act in 1926) enacted in 1926 defined that 'the crest of the emperor, grand empress dowager, queen mother, empress, crown prince, crown princess, son of the crown prince, and daughter of the crown prince shall be Jurokuyo-yaegiku-omotekikugata (eightfold Chrysanthemum with sixteen leaves facing up),' and Article 13 of the act officially specified as 'the crest of the Imperial Prince, Imperial Princess, Imperial or Royal princess, king, princess, and queen shall be Jushiyo-hitoe-urakiku (Chrysanthemum with onefold blossom facing down and fourteen leaves).'
Japanese: その後、1926年（大正15年）に制定された皇室儀制令（大正15年皇室令第7号）第12条に「天皇太皇太后皇太后皇后皇太子皇太子妃皇太孫皇太孫妃ノ紋章ハ十六葉八重表菊形」と定められ、第13条に「親王親王妃内親王王王妃女王ノ紋章ハ十四葉一重裏菊形」と正式に定められている。
English: The declaration of Dajokan no. 195 issued on May 2, 1867 banned drawing Kikumon on Chochin (Japanese paper lantern)/pottery/tribute, and all the designs of Kikumon which had been used at Buddhist temples and Shinto shrines were also prohibited to be used except for some temples and shrines by the declaration of Dajokan no. 803 issued on September 30, 1869.
Japanese: 1867年（慶応3年）3月28日(旧暦)の太政官布告第195号で、提灯・陶器・貢物等に菊紋を描く事を禁止し、1869年（明治2年）8月25日(旧暦)の太政官布告第803号で、寺社で使用されていた菊紋も、一部の社寺を除き一切の使用が禁止された。
English: Then the use of Kikumon for the decoration of shrine pavilions, curtain/Chochin (Japanese paper lantern) was gradually permitted, and it was allowed to be used for general temples and shrines as the decoration of temples and Buddhist temples by Dajokantatsu dai 23 go (No. 23 of the transmittal of Dajokan - Grand Council of state) issued on May 22, 1879.
Japanese: その後、徐々に社殿の装飾や幕・提灯に菊紋の使用を許され、1879年（明治12年）5月22日の太政官達第23号で、一般の社寺でも神殿・仏堂の装飾として使用する事が許されている。
English: The Chrysanthemum became the nickname of the Imperial family because of the use of Kikuka-monsho, and there was a popular song which said 'the Chrysanthemum blossoms, the hollyhock dies' at the end of the Edo period.
Japanese: 菊は「菊花紋章」から皇室の代名詞とされ、幕末の流行り歌に「菊は咲く咲く、葵は枯れる」と歌われている。
English: The Chrysanthemum was impressed at the bow of the military ship of the navy of Empire of Japan and on all the gunyo-shoju (army rifles) produced after Murataju (rifle developed by Tsuneyoshi MURATA) of the Imperial Japanese Army.
Japanese: 第二次世界大戦前は、大日本帝国海軍の軍艦の艦首に、また大日本帝国陸軍では村田銃以降のすべての軍用小銃に刻印されていた。
English: To this day, you can see a Kikuka-monsho at the entrance of Japanese diplomatic missions abroad as the national emblem.
Japanese: 現在でも、日本の在外公館の玄関には、国章の代わりとして菊花紋章の浮き彫りがある。
English: Besides, Jurokugiku, designed based upon Kikumon, is used on the front cover of a passport issued by the Japanese government.
Japanese: また、日本国発行のパスポートの表紙にも、同様に菊の御紋をデザイン化した十六菊が使われている。
English: Chrysanthemum is treated like a national flower the same as sakura (Japanese cherry); Kikkamon is also used for Kunsho Nihon no Isho (the Decorations, Japanese Designs).
Japanese: そのほか、菊花紋は勲章日本の意匠にも取り入れられるなど、菊は桜と並び、国花に準じた扱いを受ける。
English: Treated like the national emblem of Japan and legally handled similarly as the national flag, you cannot register a trademark in a similar design (Article 4.1.1, Trademark Act).
Japanese: 日本の国章に準じた扱いを受け、法的には国旗に準じた扱いを受けるため、それに類似した商標等は登録できない（商標法第4条第1項第1号）。
English: The Order of the Rising Sun (Keisatsu-sho, police design) is an emblem of the chamber (regulation by Minor Offense Act) so that you cannot use it; there are some examples of detectives using the design of Kikukamon as a symbol of their company to represent the authority.
Japanese: また旭日章(警察章)が司法機関紋章であり使用出来ない（軽犯罪法による規制）ため、探偵業者が権威を表現するために自社の表号として使用する例がある。
English: The Inoue and Shinozuka schools, that have enjoyed a long history since the Edo period, fall into the category of 'Kyomai' (Kyo dance).
Japanese: 「京舞」と呼ばれる分野には、井上流のほかに江戸時代から続く篠塚流がある。
English: Kyomai developed as the result of integration of kamigata mai dances, which have long been performed since the Edo period, with some elements of shimai (Noh dance in plain clothes) incorporated; currently, only the style of the Inoue school is regarded as the Kyomai style.
Japanese: 江戸期よりつたわる上方舞を集大成し、これに能の仕舞を加味して形成された独特の舞が「京舞」であり、現在、京舞の流儀は井上流一流のみである。
English: As the use of the word 'mai' instead of 'odori' suggests in Japanese, the dance is characterized by extremely rigid movements and tension of the body, yet creating rich images with simple motions; inspired by Noh dances when she worked for the Konoe Family, Ichijo Family, and the Sento Imperial Palace, the founder of this dance, Yachiyo INOUE, created a dance that was presentable in front of distinguished persons, and its teaching has been passed down by word of mouth ever since.
Japanese: 「躍り」とは言わず「舞」とする点を見てもわかるように、極度に硬い描線と身体の緊張を核として簡素な動きのなかに豊富なイメージを描き出そうとする舞であり、初代井上八千代が近衛家、一条家や仙洞御所づとめの折に能に示唆を得て貴顕の前に披露しても恥ずかしくない舞踊を作ったという口伝をそのままに体現した舞踊であるといえる。
English: Today, the Inoue school is known as the style for Ozashiki mai (dances performed in a tatami room), which is performed by geisha and apprentice geisha in the Gion Kobu district in Kyoto, and Miyako odori (dance performance held in April by geisha and maiko in Kyoto's Gion district) because the style was adopted for the choreography of Miyako odori in early Meiji period.
Japanese: 現在ではむしろ京都祇園甲部の芸妓舞妓が習うお座敷舞や「都をどり」の流儀として知られるが、これは明治の始め「都をどり」の振付けに井上流が採用されたのが直接のきっかけである。
English: It is also known as the style in which men's participation is forbidden, keeping the promise made when the school was determined to be the exclusive school of Gion.
Japanese: 祇園のお留流とされた際の約束により、男子禁制を謳う流儀としても知られる。
English: For generations the heads of the school were close to shite-kata (main roles) families of Noh, such as Nomura-Kongo family and Kuroemon KATAYAMA (Kanze school), which influenced the Inoue school to a great extent.
Japanese: 代々の家元が京都の能楽シテ方・野村金剛家や観世流の片山九郎右衛門と縁が深く、その影響を強く受けている。
English: The fan has a family crest of Ibishi pattern drawn in white color on a gold background, decorated with horizontal stripes called "konoe-biki"on the lower part of the fan.
Japanese: 金地に白ぬきで井菱の定紋、扇の図柄の根本は近衛引-このえびき-の段々。
English: Saba-zushi is a type of Bo-zushi (rod-shaped sushi topped with large slice of fish) with mackerel, or means Saba-no-narezushi (sushi fermented with mackerel and vegetables).
Japanese: 鯖寿司（さばずし）とは、サバを用いて作られる棒寿司の一種、または鯖のなれずしのこと。
English: There are several types of Saba-zushi such as Oshi-zushi (lightly pressed piece of sushi topped with cooked ingredients) including sushi-battera (mackerel sushi of Osaka) and Heshiko-zushi (rod-shaped sushi topped with Heshiko, a local dish of Wakasa, north of Kyoto, which is salted mackerel in rice-bran paste), and Yakisaba-zushi (rod-shaped sushi topped with roasted mackerel) which places a piece of roasted mackerel on vinegared rice.
Japanese: さば寿司の一種として押し寿司の寿司バッテラやネタにへしこを使ったへしこ寿司や、焼いた鯖を寿司飯の上にのせた焼さば寿司もある。
English: Saba-zushi is one of the famous dishes of Kyo-ryori (local cuisine of Kyoto), and a special meal eaten at the festivals or seasonal events in the life of common people in Kyoto.
Japanese: 鯖寿司は有名な京料理の一つでもあり、京都の庶民生活の中で祭りや四季の催し物で食されるご馳走である。
English: The freshness of salted mackerel, boning, and the sweetness of the vinegar sauce are important, and the sushi is wrapped in a bamboo sheath with some moisture and stored at room temperature.
Japanese: 塩鯖の鮮度、鯖の骨抜き、巣の甘さ加減、竹の皮に湿度を持たせて鮨を室温で保存する。
English: Maizuru Tsutsuji (azalea) Matsuri Festival is one of the festivals that takes place in Maizuru City, Kyoto Prefecture.
Japanese: 舞鶴つつじまつり（まいづるつつじまつり）とは、京都府舞鶴市で行われているお祭りのひとつ。
English: 25,000 tsutsuji, designated as the flower of the city, are planted around Higashi-Maizuru Park, and on every main festival day, May 4, events such as ceremony and karaoke singing competitions take place and the festival is bustles with branch shop stands.
Japanese: 東舞鶴公園一帯には市花に指定されているツツジが25,000本植栽されており、メイン日の毎年5月4日は式典をはじめ、カラオケ大会、売店などがにぎやかに繰り広げられている。
English: Direct shuttle bus service is available from West Japan Railway Higashi Maizuru Station to the park only on the main festival day.
Japanese: なおメイン日に限り、西日本旅客鉄道東舞鶴駅から直通のシャトルバスが運行される。
English: Takayama originated before the Onin War, and it was a giant-float parading the streets of Kyoto before "Ofuneboko" (a different yamaboko), but in 1826 the ornaments of Takayama become grossly stained from the raindrops of a hard shower, so parading the float stopped and in 1864, a big fire broke out at "Hamagurigomon no Hen" (the rebellion at the Hamaguri Gate) and burned the float except for some of it's ornaments and "Goshintai" (object of worship in Shinto).
Japanese: 応仁の乱以前に起源を持ち、大舩鉾の直前を巡行した大規模な曳山だったが、文政9年（1826年）に激しい夕立に遭って懸装品に甚だしい汚損を被ってしまい、休山していたところに元治元年（1864年）の蛤御門の変による大火で御神体と一部の懸装品を残して焼失。
English: At present, the Goshintai and ornaments that survived the fire are on display in Koromotana-cho just in "Yoiyama" (the pre-parade event), and the display is called "Imatsuri."
Japanese: 現在は宵山に限って残された御神体と懸装品が同山の町内で展示（居祭・いまつり）されている。
English: The term "Tosai-gogisei " refers to the way of decision-making in an organization.
Japanese: 統裁合議制（とうさいごうぎせい）は、組織内における意思決定の方法である。
English: It adopts the same procedure as those of the collegial system in which an agenda is considered at a collegial body of more than one member, but it is an independent system in which the power of final decision-making is given to one person.
Japanese: 手続的には複数の人物の合議体に付与される合議制と同じであるが、最終的な意思決定の権限は1人の人物に付与される独任制の形式を取る制度をいう。
English: This was the way that had been often used under the legal code system and basically adopted for decision-making in Japanese politics before recent times.
Japanese: 律令制度のもとでしばしば行われた方法であり、近代以前の日本の政治意思決定方法の原則的手法であった。
English: For example, in a conference of Imperial Court during the Heian period, participants of a collegial body each gave opinions and discussed them and later they voted.
Japanese: 平安時代の朝廷の会議を例に取れば、合議の参加者がそれぞれお互いの意見を出して議論を行って、その後に採決を取る。
English: After that, the contents of discussion were reported to the Emperor, who was the person to make the final decision (or his substitute, that is, a regent or a chief adviser to the Emperor), and the odd man made a final decision on policies based on it.
Japanese: その後に最終的な決裁者である天皇（あるいはその代理者である摂政・関白）に合議の内容が報告されて、それに基づいて最終的な決裁者が判断を行って最終的な政治意思が決定されるのである。
English: Therefore, the actual situation had varied a great deal depending on the power relationship between 'participants of collegial body' and 'the final odd man.'
Japanese: 従って「合議の参加者」と「最終的な決裁者」の力関係によってその内実は大いに変化した。
English: Basically, it was desirable to value the conclusion of the collegial body the same as the collegial system, and mostly the final decision was made based on it, but if that the odd man had absolute or nearly absolute power, it sometimes became similar to the independent system or despotism.
Japanese: 原則的には合議制と同様に合議の結果が尊重されるのが望ましいと考えられ、大抵の場合はそれに基づいた決裁が行われる場合が多かったが、決裁者が絶対的あるいはそれに近い権力を保有していた場合には、独任制あるいは独裁制と変わらなくなる場合があった。
English: According to the "Shoyuki (Diary of FUJIWARA no Sanesuke)" in the Heian period, there was a case where the major opinion in the conference of the Imperial court was denied by the opposition of FUJIWARA no Yorimichi, a chief adviser to the Emperor, and another minor opinion supported by Yorimichi was implemented, and in another case more recently, amnesty for Nichiren, which was opposed by all hyojoshu (chamber of government affairs and justice) in the Kamakura bakufu (Japanese feudal government headed by a shogun), was implemented by Tokimune HOJO, a regent to the shogunate, who was the odd man.
Japanese: 平安時代の『小右記』によれば、朝廷の会議での多数意見が関白藤原頼通の反対によって否認されて頼通が支持した少数意見による方策が実施されたケースがあり、時代が下って鎌倉幕府でも評定衆が全員一致で反対した日蓮に対する恩赦が決裁者である執権北条時宗によって実施されたケースがある。
English: In addition, in the Takeda clan of Kai province during the Sengoku Period (Period of Warring States) the final decision was also made by the family head of the Takeda family after a consensual decision made by the vassals.
Japanese: また、戦国時代_(日本)の甲斐武田氏でも同様に、武田家臣団による合議の下、最終的決定権は武田家当主に委ねられていた。
English: This way of decision-making, in which the highest man of power had the authority of the final decision while suppressing complaints of under class people using the form of adopting their opinions, had been kept as a 'traditional' and 'fundamental' way until the Edo period.
Japanese: 下位の者の意見を取り上げる形式をとって下位の不満を抑えつつも、最終的な決裁権は最高権力者が保持し続けるというこのやり方は江戸時代に至るまで、「伝統的」・「原則的」手法として守られ続けていった。
English: And even recently, this way had been continued in conferences while in the presence of the emperor and so on.
Japanese: そして近代以後も御前会議などにおいては、この方式が維持されていったのである。
English: While the word shoji (a paper sliding door) originates from China, the word 'fusuma' is not seen in Tang and Korea so the name seems to come from Japanese.
Japanese: 障子という言葉は中国伝来であるが、「ふすま」は唐にも韓にも無く、日本人の命名である。
English: The 'fusuma-shoji' began to be used as a partition in a place to sleep in the emperor's private room in the Imperial Palace, just after it was first designed.
Japanese: 「ふすま障子」が考案された初めは、御所の寝殿の中の寝所の間仕切りとして使用され始めた。
English: In addition, there is a theory that a form of fusuma-shoji, with a wide hem-stuck, which was called zenkin, was similar to the form of fusuma futon.
Japanese: さらには、ふすま障子の周囲を軟錦（ぜんきん）と称した幅広い縁を貼った形が、衾の形に相似していたところから衾障子と言われた、などの説がある。
English: It can be imagined that the sound of the Chinese character 'kin' (衾) as 'fusuma' in the Japanese way originated from the word 'fusu-ma' (a room for lying).
Japanese: 「衾（きん）」をふすまと訓ませるのは、「臥す間（ふすま）」から来ていると想像される。
English: Anyway the theory that the origin of 'fusuma' was '衾' is regarded as correct.
Japanese: いずれにしても「ふすま」の語源は「衾」であるという学説が正しいとされている。
English: Zenkin used as a hem of fusuma (襖) originally meant the belt-shaped silk cloth used for hemming or decoration for a bamboo blind and kicho (a kind of partition used by court nobles during the Heian period).
Japanese: ついでながら、襖の周囲に縁取りとして使用した軟錦（ぜんきん）は、もとは簾や几帳に、縁取りや装飾として使用された、帯状の絹裂地のことである。
English: The zenkin was also used as a hem for a screen (a free-standing, single-panel wooden screen), a simple partition which was often used in the rooms of Shinden-zukuri style (architecture representative of a nobleman's residence in the Heian period), and used as a hem for tatami such as ugen-beri (a hem made of silk fabrics colored in one color with sequential layers from light to dark).
Japanese: 寝殿造で多用された簡易間仕切りの衝立てにも縁取りとして軟錦は使用され、また畳の繧繝縁（うげんべり）などの縁取にも使用されている。
English: The kicho was a silk twill curtain hung on a horizontal wooden bar between two vertical pillars on a stand, and used as a partition in a space for women to use.
Japanese: 几帳は、台に二本の柱を立て上に横木を渡して、絹綾織りの帳とばりを掛けたもので、主として女性の座する空間の間仕切りとして、使用されていた。
English: The silk cloth of the curtains were tied together with a hem of zenkin, and a more belt of zenkin was hung over it as an ornament, and the low hemline created a style like the hem of juni-hitoe dress (the ceremonial attire of a Japanese court lady consisting originally of twelve layers of unlined kimono worn one on top of another).
Japanese: 帳は絹布を軟錦の縁取りでつなぎ合わせて、軟錦の上からさらに軟錦の帯を飾りとして重ねて垂らし、裾は長く流して十二単衣の裾のような風情を作っていた。
English: The term 'ao' (襖) refers to a lined kimono or wadded clothes (padded clothes) and used as an expression of 'fusuma' because both sides were covered with silk cloth.
Japanese: 「襖」は衣服のあわせや綿いれの意で、両面が絹裂地張りであったことから「ふすま」の表記に使用された。
English: It seems the original form (the primitive form) was a board-like screen on which both sides were covered silk cloth.
Japanese: 襖の原初の形態は、板状の衝立ての両面に絹裂地を張りつけたものであったと考えられる。
English: Attempting to lighten this screen, vertical and horizontal boards were assembled in the frame and silk cloth pasted on the both sides.
Japanese: この衝立てを改良して、框かまちに縦桟横桟を組み、両面から絹布などを貼って軽量化を図った。
English: It seems that these improved points of the screen were applied to haritsuke kabe (a fixed and unmoving fusuma used as a wall) (also known as fukushoji (set-in translucent screens)) and folding screens.
Japanese: この軽量化された衝立てを改良発展して、張り付け壁（副障子）や屏風にも応用していったと思われる。
English: Later, the thick karakami (Chinese paper) which concealed easily was introduced and its application to shoji spread, the difference between fusuma-shoji, and karakami-shoji (paper sliding-door made of imported Chinese paper) became blurred and they were used together so paper covered shoji, other than silk shoji, were also called fusuma.
Japanese: のちに、隠蔽性の高い厚手の唐紙が伝来して障子に用いられて普及していくが、襖障子と唐紙障子は混同され併用されて、絹張りでない紙張り障子も襖と称されていく。
English: Supposedly, shoji with a white background or on which fusuma-e (images drawn on fusuma sliding door) were drawn were used in a formal guest room and were called fusuma-shoji, shoji covered with woodblock printed karakami of one color background without a pattern or a fine pattern placed in an informal living room or sukiya (style of a tea-ceremony house) style building were called karakami-shoji.
Japanese: 一応、正式の客間には、白地または襖絵が描かれたものを用いて襖障子と称し、略式の居間や数寄屋風の建物には、色無地や小紋柄を木版で刷った唐紙を使用し、唐紙障子と称したようである。
English: As the time passed, the words were shortened and the word 'shoji' was left out of fusuma-shoji and karakami-shoji, and the word 'akari' was left out of akari-shoji (a translucent screen or sliding door made by pasting single sheets of white Japanese paper on light wooden frames) so that the word shoji became a specific term for a kind of screen, and was no longer used as a general term for all screens.
Japanese: 時代を経るに従い、言葉がつづまり襖障子、唐紙障子の内、「障子」が脱落して襖、唐紙となり、明かり障子は逆に「明かり」が脱落し、障子が固有名詞となり、間仕切りの総称から地位を譲った。
English: In "Genji Monogatari," there is a description where 'the opened shoji was pushed to open a little more, and the shoji on this side was pulled to close' and there are many scenes where waka (Japanese poem) was written on shoji.
Japanese: 『源氏物語』の中に「開きたる障子をいま少しおし開けて、こなたの障子は引きたて給いて」とあり、また障子に歌を書き付ける話が何度か出てくる。
English: Apparently, around this time, fusuma had spread widely in a residences of aristocracy and the upper-class.
Japanese: この頃になると貴族や上流階級の邸宅には襖がかなり普及していたと判断できる。
English: "Genji Monogatari Emaki" (Illustrated handscrolls of the Tale of Genji) was the oldest scroll depicting a story in Japan, in the style of peculiar and elegant tsukuri-e (pictures created by careful executed three step paintings), painted by FUJIWARA no Takayoshi 100 years after "Genji Monogatari" was written.
Japanese: 『源氏物語』が書かれてから凡そ100年のちの藤原隆能（ふじわらのたかよし）の描いた『源氏物語絵巻』は、濃い色彩を塗り重ねていく、つくり絵の独特の優美な日本最古の絵巻物語である。
English: People were painted in the style of 'hikime-kagihana,' where a person had a full-cheeked face, thin horizontal lines as eyes and a hook-shaped nose, and a house was painted in the fukinuke-yatai style in which roofs and ceilings were omitted.
Japanese: 人物は下ぶくれの顔に細い横線を引いて目とし、鼻を鉤かぎ状に描く「引目鉤鼻」の手法で描かれ、家屋は屋根や天井を省略した吹抜け屋台となっている。
English: This picture scroll shows what the room looked like very well, for example, how fittings such as a screen, kicho, a bamboo blind, shitomi (a wooden lattice door which opens up vertically) and folding screens were used and yamato-e painting (a traditional Japanese style painting of the late Heian and Kamakura periods dealing with Japanese themes) were drawn on fusuma-shoji.
Japanese: この絵巻物によってで室内の様子がよく判り、衝立、几帳、簾、蔀、屏風など建具の使用状や、襖障子に大和絵が描かれているのが分かる。
English: In the volume of 'Yadorigi' (the volume of mistletoe) the fusuma-shoji of yamato-e paintings and the fuku-shoji (a kind of fusuma-shoji that is used as a movable wall) showing a picture of birds over running water painted on a silver ground were painted in the room used for breakfast in the Seiryoden (Literally "Limpid Cool Hall," an imperial summer palace).
Japanese: 「宿木」の巻では、清涼殿朝餉の間には大和絵の襖障子と、銀地に流水飛鳥の図を描いた副障子（可動式の壁として使用した、嵌め込み式の襖障子の一種）が描かれている。
English: While fusuma-shoji were used as partitions between rooms, kicho was inevitably placed and fabrics that provided stage effects to emphasize a woman's personality were used near the lady, and they played an important role to subdivide a room.
Japanese: 室内の間仕切りに襖障子が使用されているが、姫君の座している側にはかならず几帳が置かれ、個性を演出する織物が使用されていて、部屋をさらに細分化して使用するための重要な隔ての役割を演出している。
English: For partitioning areas around the outside of a house many bamboo blinds and lattices could be seen for controlling light, but mairado (a sliding door with frame incorporating a wooden panel and numbers of thin wooden slats fixed at short intervals) were used in a key areas.
Japanese: 外回りの隔てには、明かり取りに簾や格子も多く見受けられるが、要所には舞良戸が使用されている。
English: It seems that each personal role, interior design, and symbolic meaning were incorporated into each fitting.
Japanese: それぞれの建具にそれぞれの役割とインテリアとしての意匠や象徴的意味が込められているようだ。
English: Fusuma-shoji during this period were made with a big-boned combined framework for a wooden door and a pasted silk cloth covering.
Japanese: この時代の襖障子は、板戸用の骨太い組子桟に、絹裂地（きれじ）張りであった。
English: For opening and closing, a thick tassel sufficed as a handle and a latch for locking was included.
Japanese: 開閉の為、引き手として太い総（ふさ）や、戸締まり用の懸金（かけがね）が付けられていた。
English: A ken (a unit of length) in those days was 3 m, so two sliding doors were roughly twice as wide as present ones.
Japanese: 当時の一間は3mであり、2枚引違いにすると現在の建具の倍近い巾があった。
English: In addition, because it was an age when carpenters' tools such as dai-ganna (a plane) were not yet developed and only big-boned combined wooden materials in a frame were produced, it seems to have been a very unrefined and heavy fitting compared to those used today.
Japanese: しかも大工道具が未発達で台鉋もない時代で、骨太い組子しか作れなかった為、今日から考えると実に武骨で大変重い建具であったと思われる。
English: The oldest existing fusuma are those placed on the dividing nai-jin (the inner sanctuary of a shrine or temple) and ge-jin (the outer part of a shrine or temple where ordinary people worship) at the Fudo hall of the Kongobu-ji Temple on Mt. Koya, which was said to be built in 1197.
Japanese: 現存最古の襖は、建久8年（1197年）に建立されたと伝えられる、高野山金剛峯寺不動堂の内陣と外陣の境にたてられている襖である。
English: However, both the final printed paper and paper used as a foundation had been replaced, and now only the frame from those days remain.
Japanese: ただ上張りも下張りも張り替えられており、当時のものは襖の骨組みだけである。
English: The kumiko-bone (vertical and horizontal crosspieces such as found in a lattice) which were finished by yari-ganna (a plane consisted of an edge and a shaft like a spear which shaved wood by pushing), was thick and made of hinoki (Japanese cypress) with 3 cm on the front side and 2 cm on the lateral side, four vertical crosspieces and seven horizontal crosspieces had been set within the frame.
Japanese: ヤリ鉋で仕上げられた組子骨は太く、見付け3cm見込み2cmの桧造りで、縦骨が4本、横骨が7本組まれている。