nntsuzu/KFTT huggingface dataset:
English: In Rinzai sect, it is only Shike who is entitled to give koan (small presentations of the nature of ultimate reality, usually presented as a paradox) to ascetic monk and examine state of his life (mind).
Japanese: 臨済宗では修行僧に公案を与え、その境涯を点検できるのは師家のみとされている。
English: From above meaning, Shike also implies leader of Japanese martial art (not necessary the head family).
Japanese: 上記の意味から転じて、日本武術の指導者のこと（必ずしも家元にあたる者を指すとは限らない）
English: Kyoto Symphony Orchestra is a professional orchestra headquartered in Kyoto City.
Japanese: 京都市交響楽団（きょうとしこうきょうがくだん、KyotoSymphonyOrchestra）は、京都市に本拠を置くプロのオーケストラ。
English: In April 1956, it was founded as the only orchestra in Japan which was directly managed by a municipality.
Japanese: 1956年4月に、日本で唯一の自治体直営のオーケストラとして創立された。
English: At present, it gives a Subscription Concert once a month in the Kyoto Concert Hall and, taking advantage of its large modern orchestra and its direct management by a municipality, it also gives a lot of performances of works that otherwise would have little chance of being heard.
Japanese: 現在は京都コンサートホールで毎月1回の定期演奏会を開催しており、4管編成、自治体直営の利を活かして演奏機会の少ない曲を採り上げることも多い。
English: In April 1956, it was established as an orchestra directly operated by a municipality and gave its first public performance on June 18 in the Pontocho Kaburenjo Theater.
Japanese: 1956年　4月に自治体直営のオーケストラとして創立し、6月18日、先斗町歌舞練場に於いて披露演奏会を開催。
English: On the next day June 19, it gave its first Subscription Concert at the outdoor concert hall in Maruyama Park (Kyoto Prefecture).
Japanese: この翌日（6月19日）には円山公園(京都府)野外音楽堂にて第1回定期演奏会を開催
English: In 1959, in cooperation with Nikikai Opera Foundation, Kyoto Symphony Orchestra made a nationwide tour performing 'Wolfgang Amadeus Mozart Opera Series' and received THE MAINICHI NEWSPAPER Award for Music, the Osaka Fumin Hall Award, and the Osaka Prefecture Art Festival Awards.
Japanese: 1959年　二期会との提携による「ヴォルフガング・アマデウス・モーツァルト・オペラシリーズ」で全国を巡業し、毎日音楽賞、大阪府民劇場賞、大阪府芸術祭賞を受賞
English: In 1978, Kyoto Symphony Orchestra received the 'Japan Record Academy Award' for its record "Kyoto wo imejishita sakuhinshu" (The Contemporary Music of Japan), a collection of five Kyokyo's commissioned works.
Japanese: 1978年　京響委嘱作品5曲を集めたレコード『京都をイメージとした作品集』で「日本レコード・アカデミー大賞」を受賞
English: In 1995, following completion of construction of the Kyoto Concert Hall, Kyoto Symphony Orchestra moved its base from the Kyoto Kaikan.
Japanese: 1995年　京都コンサートホール完成に伴い、本拠地をそれまでの京都会館より移転
English: In 1997, as the finale to its fortieth anniversary celebrations, Kyoto Symphony Orchestra carried out an overseas tour of five European cities, with Michiyoshi INOUE as conductor.
Japanese: 1997年　創立40周年記念事業の締めくくりとしてヨーロッパ5都市を巡る海外ツアーを敢行（井上道義が指揮者として同行）
English: From 1999 through 2001, together with Uwe Mund (the tenth permanent conductor), it recorded works by Jean SIBELIUS, Bedrich SMETANA, Bela BARTOK and Gustav MAHLER and released to the whole world through German budget record label "ARTE NOVA."
Japanese: 1999年　この年から2001年にかけて、ウーヴェ・ムント（第10代常任指揮者）と共に、ジャン・シベリウス・ベドルジハ・スメタナ・バルトーク・ベーラ・グスタフ・マーラーの各作品を録音、ドイツのバジェット・レコードレーベル「アルテ・ノヴァ（ARTENOVA）」を通じて全世界に向けてリリース
English: In 2003, together with Naoto OTOMO, the eleventh regular conductor, Kyoto Symphony Orchestra launched the first regular concert for children in the western Japan, 'Concert for Children'.
Japanese: 2003年　大友直人（第11代常任指揮者）と共に西日本初の子供向け定期演奏会「こどものためのコンサート」を開始
English: In 2006, to commemorate its fiftieth anniversary, Kyoto Symphony Orchestra gave a commemorative "Birthday Concert"(June 18) at the Pontocho Kaburenjo Theater.
Japanese: 2006年　創立50周年を迎え、記念の「バースデーコンサート」を先斗町歌舞練場で（6月18日）開催
English: And, in November, it toured major cities in Japan with the title of 'Kyokyo soritsu 50-shunen kinen concert tour'.
Japanese: 更に11月には「京響創立50周年記念コンサートツアー」と銘打って国内主要都市を巡業
English: In 2009, the operation of Kyoto Symphony Orchestra was transferred from the Culture and Citizens Affairs Bureau of Kyoto Prefecture to an extra-departmental organization, Kyoto City music art cultural Promoting Foundation.
Japanese: 2009年　運営を京都市文化市民局から外郭団体の京都市音楽芸術文化振興財団に移管
English: Suteteko is underpants with the long length under the knee, and it is usually worn by men.
Japanese: ステテコとは主に男子が着用する、裾が股より長く膝下丈まであるズボン下である。
English: In the period of the modern Japanese development since the Meiji period, it became a common in the whole country as underwear to be put under kimono or hakama (pleated loose-fitting trousers).
Japanese: 着物や袴の下に履く下着として、明治以降の日本の近代化に伴い全国的に普及した。
English: After the War, textile industry flourished in Japan, and for the very warm and humid Japanese climate, new materials and weave technique, such as yoryu-crepe and calico-weave, were introduced,
Japanese: 戦後、繊維業が隆盛となった日本では高温多湿の気候に合わせて素材や織りを工夫した楊柳クレープやキャラコ織の物も登場した。
English: The name 'suteteko' originates from the story that around in 1880, during the first Sanyutei Enyu (in fact he was the third) was performing his 'suteteko dance', his underwear under kimono was being seen.
Japanese: 語源は1880年頃、初代（本当は3代目）三遊亭圓遊の「ステテコ踊り」の際に、着物の裾から見えていた下着であったためであるといわれている。
English: At festivals, for shouldering or pulling mikoshi (portable shrine), or dashi (float) or jiguruma (float), participants wear it as a substitute for momohiki (in this case it means worker's close-fitting trousers).
Japanese: 祭りにおいて神輿や山車、地車等の担ぎ手曳き手が股引と同じ用途で着用する場合が多い。
English: These days, suteteko is likely to be avoided for its bad appearance, however, it works as underwear that protects the knee and the thigh, absorbs the sweat in summertime, makes the movements of bending and sitting smooth like slip and juban (underwear for kimono), and prevents trousers from being damaged.
Japanese: 近年、見た目の格好が良くないとして好まれないが、男性がズボン下として着用し膝や太ももが、夏に汗ばんだ時は汗を吸着し、かがむ、座るなど脚を曲げる場合、ズボンと膝や太ももとの間にあってスリップ(衣類)や襦袢などと同様に滑りをよくする役目もあり、ズボンを突っ張って傷めることが少ない。
English: "Cold candy" drink or ameyu ("candy"drink) is one of Japan's traditional sweet drinks made from malt syrup dissolved in hot water with ginger juice or grated ginger added as a seasoning or flavoring agent.
Japanese: 冷やし飴（ひやしあめ）または飴湯（あめゆ）とは、麦芽水飴を湯で溶いて、風味や香りを付けるためにショウガの搾り汁またはおろし生姜を加えた、日本の伝統的な甘味飲料の一つ。
English: This drink is translucent liquid of a brown or amber color associated with beer or mugicha (barley tea), because it is made from malt syrup.
Japanese: 麦芽水飴を用いるため、ビールか麦茶を思わせるような褐色または琥珀色で半透明の液体である。
English: It resembles Sujeonggwa, a sweet drink made from dried persimmon in Korean Peninsula, and ginger ale to some extent in that it is a sweet drink with a flavor or taste of ginger (and sometimes cinnamon), but it is more different from either of them than might first be surmised.
Japanese: 生姜（ほか、ときにニッキ）の香りや風味がある甘味飲料である点で、朝鮮半島の干し柿による甘味飲料スジョングァ（水正果）やジンジャーエールにやや類似するといえるが、いずれとも似て非なる飲み物である。
English: The term 'hiyashiame' is used for cooled drinks served mostly in summer, and the term 'ameyu' is used for drinks served while hot or heated drinks in winter.
Japanese: 「冷やし飴」の語は夏などに冷やして飲用するものに用い、「飴湯」の語は冬などに熱いまま、または熱して飲用するものに用いられる。
English: It is taken mostly in western Japan, particularly in Kinki region, however it is not taken or even known at all in many areas.
Japanese: 主に近畿地方など西日本で多く飲用されるが、全く飲用されず知られていない地域も多い。
English: It is as common a drink as iced coffee for people from Kansai region because it has existed since they were born.
Japanese: 関西出身者には生まれたときから存在するために、アイスコーヒーと同じくらいの一般的な飲み物である。
English: In Kansai, it is often served at food wagons at festival, okonomiyaki (savory pancake) shops, udon/soba restaurants, tea stalls and tea houses.
Japanese: 関西などでは、縁日の屋台、お好み焼き店やうどん・蕎麦店、茶店、喫茶店で供されることが多い。
English: Furthermore, bottled or canned "cold candy" drinks are sold, and most bottled ones are concentrated so as to be diluted with cool or hot water when they are taken.
Japanese: また、瓶入りや缶入りのものも市販されており、瓶入りのものは水や湯で薄めて飲用する濃いものが多い。
English: In Kansai, "candy" drinks, just like Amazake (sweet mild sake), are often offered to visitors at many temples and shrines during New Year's holidays.
Japanese: 関西では正月などに甘酒と同様、飴湯が寺社で参拝客に振舞われることも多い。
English: Ioriten "&12349" is one of yakumono (punctuation marks and other special symbols [term used in printing]) put at the beginning of a song in Japanese.
Japanese: 庵点（いおりてん）「&12349」は、日本語で、歌のはじめなどに置かれる約物のひとつ。
English: It is called "a part alternation mark" in English, and represented as U+303D in Unicode and as 1-3-28 in JIS X 0213.
Japanese: 英語ではpartalternationmarkと呼ばれ、UnicodeではU+303Dのコードを、JISX0213では1-3-28のコードを持つ。
English: With regard to shape, some theory insists that a mark with two peaks, as shown in the figure, is called ioriten and a mark with one peak which looks like a hiragana character 'へ' (he) is called gatten.
Japanese: 形態については、図のように山が二つあるものを庵点、山が一つの「へ」のような形のものを合点（がってん）と呼ぶという説もある。
English: In a sheet music of a Noh song (Utai-bon), ioriten is used at the beginning of a word when a part of each Noh player including Shite (a main actor of a Noh play), Waki (a supporting actor) and Jiutai (Noh chorus) starts.
Japanese: 謡曲本（謡本）においては、能職掌であるシテ、ワキ、地謡などの役割がかわるところで、語句の頭に使われる。
English: "へ"-shaped marks were used at least in sheet music made after the Meiji period, and they are still being used as of 2008.
Japanese: 少なくとも明治時代以降の謡曲本では「へ」の字型のものが使われ、2008年現在もそれを踏襲している。
English: It is not clear whether there were two separate marks 'ioriten' and 'gatten' or the same mark was referred to both as 'ioriten' and as 'gatten.'
Japanese: 「庵点」と「合点」の使い分けがされていたのか、同じものを「合点」「庵点」と呼んでいたのかは、明らかではない。
English: In contemporary writings, when song lyrics are inserted in prose, ioriten is generally put at the beginning of the lyrics in order to distinguish them from the prose.
Japanese: 現代文では、散文中に歌詞を記述する際に、歌詞部分の冒頭に配置して散文との区分とする用法が一般的。
English: With regard to computers, however, a musical note (disambiguation), which is included in JIS X 0208, the standard character encoding scheme, is often used as a mark of song in World Wide Web and e-mail because ioriten is not included in JIS X 0208.
Japanese: ただし、コンピューター上では、庵点が文字コード規格のJISX0208に含まれなかったことから、WorldWideWebや電子メールなどにおいて、JISX0208に含まれている「音符(曖昧さ回避)」が歌記号として用いられることが多い。
English: According to the custom, it is to be worn only during the months from June to September, however, hitoe made of wool, cotton, or plainly-woven tsumugi-silk are allowed to be worn at other seasons.
Japanese: 6月から9月までの間にしか着られないという慣例だが、ウールや綿、紬の着物はこの限りではない。
English: In the Heian period, men wore katabira for soaking up sweat; in the Muromachi period and the Edo period, men and women wore katabira in the shape of kosode (kimono with narrow sleeves).
Japanese: 平安時代においては男子の汗取りの帷子、室町時代や江戸時代には男女の小袖形式の麻のひとえの帷子がある。
English: The name 'uchiginu (beaten clothes)' originates from the process of beating materials on kinuta (wooden or stone board especially used at this process) to increase its gross.
Japanese: 元々は砧で打つことにより光沢を出した生地から作られたことが名称の起源である。
English: Later that process was considered very troublesome, so the technique of 'itahiki' was introduced (craftsmen put a lot of paste on the material, stick it to a lacquered board to dry it, and when it hardened like a board, peel it off; after the whole process finished, craftsmen cut the material to make clothes).
Japanese: その後、この作業が手間がかかると言うことで「板引き」（生地に硬めに糊をして漆を塗った厚板に貼り付け、板のように固まったところではがす加工）をした生地から作られるようになった。
English: However, uchiginu made by 'itahiki' was still considered very luxury, so at the accession ceremony of Emperor Showa of 1928 when the juni-hitoe was prepared, the uchiginu was made of plain materials; since then uchiginu have been made of plain materials until the present.
Japanese: しかし、1928年（昭和3年）の即位の礼で調製した十二単は、この「板引き加工」も贅沢であるとして通常の生地から調製されるようになり、この慣行が現在まで続いている。
English: Originally uchiginu was to adjust the shape of juni-hitoe, so its size was a little smaller than hitoe (a single layer of kimono) and uchigi (ordinary kimono).
Japanese: 元々は十二単の形を整える役目を持つ着物であったため、他の単衣や袿に比べ一回り小さめに仕立てられる特徴がある。
English: The shape of the omoteginu is no different to that of the hitoe or uchigi; however, since it is the outermost kimono that covers the other kimonos of the juni-hitoe, it is usually made of luxurious materials such as futabe-orimono (silk double weave).
Japanese: 形は単や袿と変わらないが、一番外側に羽織る着物で目に留まるため、他の着物と違い、二陪織物（ふたべおりもの）などの豪華な生地から調製するのが特徴である。
English: Uchiki (also known as "uchigi") is a kind of kimono that is worn by women as part of Heian-period costumes, such as the twelve-layered ceremonial kimono and five-layer robe, although it may also be worn by itself.
Japanese: 袿（うちき、うちぎ）は十二単、五衣、等、女性の平安装束を構成する着物の一つであるが、単独で着用する場合もある。
English: In the Heian period, uchiki were worn so that the edges showed between each layer (a style known as omeri) but from the Meiji period, another cloth called a nakabe was inserted between the inner and outer layers, to make it appear as if the uchiki are worn in layers.
Japanese: 平安時代は裏地を表地側にはみ出すように調製していた（おめり）が、明治時代以降、袿を重ね着しているように見せるために裏地と表地の間に中陪（なかべ）という別の生地を挟み込んで調製するのが慣例となった。
English: Theories include that the name comes from 'uchigawa no kimono,' which means a kimono to be worn under the karaginu (the outermost layer), or from 'uchikakeru kimono,' which means a kimono to be worn over another kimono.
Japanese: 唐衣等より身体側に着付ける「うちがわのきもの」の略から着たという説や、「打ちかける着物」の略からきたという説がある。
English: As Japanese culture developed, the design of kimono changed greatly, with the sleeves becoming longer and uchiki came to serve an important role.
Japanese: 国風文化の発達により、着物の構造自体が大きく変わって袖丈が長くなったために、重要な役割を果たす着物となる。
English: The role of uchiki was to accentuate costumes with layers of colors, and wide variations were created according to the seasons or the occasion.
Japanese: その役割は襲で服装にアクセントを加えることであり、季節や状況によって様々なバリエーションが生まれた。
English: Meanwhile, kouchigi (literally "small uchigi") were created for occasions when juni-hitoe were too formal, but everyday clothes might be impolite.
Japanese: 一方、十二単を着るほどでもなく、平服でも失礼な場合の時に着用する着物として小袿なる物が発明される。
English: As the name implies, these were short uchiki and like karaginu and uwagi, they were usually made of expensive fabric but were worn without a mo (a kind of stylized apron).
Japanese: 構造としては名前の通り「丈の短い袿」で、唐衣や表衣と同様に高価な織物から調製されるのを慣例とし、これを着用するときには裳をつけない。
English: In the 11th century, during the heyday of the Fujiwara clan, uchiki was made of twill with graduated colors.
Japanese: 11世紀の藤原氏全盛期には素材は綾織で色彩のグラデーション（かさねの色目）を楽しんでいた。
English: During the cloistered government period in the 12th century, embroidered uchiki decorated with gold and silver foil were fashionable.
Japanese: 12世紀の院政期には袿に刺繍をほどこしたり、金箔・銀箔を張り付けることが流行った。
English: During the heyday of the Taira clan at the end of the Heian period, the use of brocade meant that uchiki were too heavy to wear in many layers and as a result, layers became less important.
Japanese: 平安時代終わりの平氏全盛期には素材は錦となり、重量の重さから過度の重ね着ができなくなり、襲を重視しなくなっていったとされる。
English: With the decline of aristocratic power, due to economic and other reasons, hitoe and a single uchiki over a kosode and hakama became formal dress.
Japanese: 貴族勢力の後退により、経済的な理由などから小袖と袴の上に単衣と袿一枚を羽織った状態が正装となっていった。
English: On the other hand, in samurai society, wearing several layers of uchiki over kosode was considered full dress for high-ranking samurai women.
Japanese: 一方、武家社会では小袖の上に数枚の袿を羽織った状態が高位武家女性の正装とされていた。
English: However, uchiki, which have large sleeves and widely opened cuffs, became outdated with the collapse of the court noble society and the revolts of vassals against their lords following the outbreak of the Onin War.
Japanese: しかし応仁の乱勃発による公家社会の崩壊と下克上により、袖が大きく袖口も開いている袿は時代に合わなくなった。
English: Women of samurai families no longer wore uchiki while court noble ladies wore kosode and hakama as formal dress.
Japanese: 武家女性は袿を着用しなくなり、公家女性も小袖に袴で正装とされる有様であった。
English: By the Edo period, post Onin War customs had become fixed, and even in the court noble society, uchiki was worn only at a large event or by high-ranking court ladies.
Japanese: 江戸時代になると、応仁の乱以後の服飾習慣が固定化してしまい、公家社会でも高位の女官や大きな行事でもない限り、袿が着られることはなくなってしまった。
English: With the restoration of Imperial rule, it was established that uchiki should be worn on visiting the Imperial Palace.
Japanese: 天皇を中心とした中央集権の復活により、宮中に参内するときの服飾は袿を着用するよう定められた。
English: The basic regulation was 'to wear white kosode and vermilion kiri-bakama (short ankle-length hakama) and hitoe under regulation uchiki, which is to be rolled to the waist and tucked into the obi when going out'.
Japanese: 基本的な規定として「白い小袖に朱の切袴（くるぶしまでの短い袴）、単衣の上に規定に従った袿を着用し、外出の際は腰でたくし上げて帯で固定し着用する」という物である。
English: It was full dress for ladies of Meiji period, and it is told that many ladies went to the Rokumeikan (a building used mainly for housing foreign guests) wearing this outfit.
Japanese: 明治時代の貴族女性はこれが礼装であり、鹿鳴館にもこの格好で出席した女性が多かったらしい。
English: However, the Meiji government's policy of 'further Westernization of clothing' meant that the costume was gradually worn only at special occasions, such as an audience with the Empress.
Japanese: しかし、明治政府の方針は「更なる洋装化」であり、次第に皇后への拝謁など特殊な条件下でしか着用されなくなっていく。
English: In the post-World War II period, although female members of the royal family wear the costume when they visit the Ise-jingu Shrine as a special event, there are very few opportunities to see it in general.
Japanese: 戦後は皇族女性が特別な行事で伊勢神宮に参拝する際などにこの格好をするが、一般的に見る機会は非常に少ない。
English: The costume of female Shinto priests specified by Jinja-Honcho (The Association of Shinto Shrines) is based on the 'keiko-shozoku.'
Japanese: 神社本庁で規定された女性神職装束はこの「袿袴装束」が基になっている。
English: As described above, kouchigi was created as semi-formal outerwear.
Japanese: 上の項で説明したとおり、準正装の上着として誕生したのが小袿（こうちぎ）である。
English: Wearing of uchiki and kouchigi temporarily declined with the simplification of dress after the Kamakura period, but they were revived as clothing for the royal family during the Meiji period.
Japanese: 鎌倉時代以降の服飾の簡略化に伴い一時期衰退していたが、明治時代になって皇族の装束として復活した。
English: However, regulations of the time stated that kouchigi is longer than uchiki.
Japanese: しかし、その時の規定で袿の長さより小袿の長さの方が長くなってしまった。
English: It doesn't have a long history, and it was initially made as a counterpart of 'visiting dress' of European dress code in the Meiji period.
Japanese: 意外に歴史は新しく、明治時代に洋服の「ビジティング・ドレス」に当たる着物として考え出された。
English: As it is a formal dress, at first kamon (crest) had been drawn on the back and sleeves, however that custom has fallen into disuse, at present homongi with kamon is rarely seen.
Japanese: 正装の一つであり、当初は背中・両袖の3カ所に家紋を入れる慣例であったが、次第に廃れて今では紋を入れないことも多い。
English: A process used for Homongi that results in a type of kimono that differs greatly from Tsukesage (simpler, less formal kimono), eba is performed by the following steps: first, craftsmen cut the material into panels in accordance with the measurements; next, they sew the panels together to make the initial kimono; after that, they draw a pattern on the initial kimono that continues beyond its seams; next, they remove the stitches from the initial kimono to break it down into the original panels again; after that, they dye each panel; and finally, they sew them together again.
Japanese: これは最初に生地を採寸通りに裁断して仮縫いし、着物として仕立てた時点でおかしくならないよう絵を描いた後、再びほどいて染色作業をするもので、これが付け下げとの最大の違いである。
English: Homongi is to be worn at formal event such as wedding (except for relative's wedding), Japanese tea party, and other parties.
Japanese: 用途として結婚式への出席（親族以外の場合）、茶事、パーティーなど、華やかな行事には大概対応できる。
English: Tsumugi-homongi is different from normal homongi in the material (it is made of plainly-woven silk), and it was introduced for sales promotion of kimono after the War.
Japanese: 紬訪問着は戦後になってから着物の販売振興のために新しく考え出されたもので、通常の訪問着とは生地が異なる。
English: Tsumugi kimono was originally regarded as casual wear, so however expensive the tsumugi-homongi is, it shouldn't be worn at formal congratulatory event like wedding.
Japanese: 紬自体は元々普段着であり、どれほど高価な紬訪問着でも、結婚式など公式の祝い事では着用できないとされる。
English: Tsukesage has characteristics that it doesn't have eba-moyo (or 'eba') nor kamon (crest), and its hakkake (inside cloth used around cuff and hem) is not tomosuso (made of the same plain cloth as the front).
Japanese: 付け下げの特徴として、絵羽模様がない、家紋を入れない、八掛が共裾ではないことが挙げられる。
English: Formal dress is supposed to have eba-moyo, kamon, and susomawashi (hakkake) of mukujitate (sometimes mukujitate is called 'tomosuso').
Japanese: 正装とみなされるには、絵羽模様があることと、家紋が入っていること、裾回し（八掛）が無垢仕立て＝共裾であることが必要である。
English: In the early twentieth century, based on the technique of drawing komon (small patterns drawn on the whole cloth) craftsmen introduced new technique of drawing a little bigger pattern on materials so that patterns don't lose the direction.
Japanese: 20世紀前半に小紋を作る手法を発展させて、布を裁断すると模様の上下方向が統一されるようなデザインを反物の布に描く技術が発達した。
English: Due to the technique, more gorgeous patterns than komon began to be drawn on kimono.
Japanese: この技術により、小紋よりも華やかな模様のある和服を作ることができるようになった。
English: Basically current tsukesage is not supposed to be a formal dress because of the lack of eba-moyo and kamon.
Japanese: 現在、付け下げには絵羽模様がなく、また家紋を入れないことが多いので、正装とはみなされない。
English: However, some tsukesage with extremely gorgeous patterns might be regarded as a formal dress ranked next to normal homongi (formal kimono) such as tomesode (black formal kimono with kamon for married women).
Japanese: しかし非常に華やかな模様の付け下げは、留袖ほどには正装ではないが、訪問着の正装の度合いに準ずるぐらいのものだとみなされている。
English: Tsukesage with classical patterns is ranked over homongi with light patterns in some cases, so the difference between homongi and tsukesage tends to be gradually reduced
Japanese: 訪問着であっても趣味的な軽い柄付けのものより、古典柄で柄置きがされた付け下げが格が上とみなされることもあり、訪問着と付け下げの差が縮まっていく傾向にある。
English: At first tsukesage was much simpler than homongi.
Japanese: 付け下げが登場した頃は、まだ模様の華やかさでは訪問着に劣る和服であった。
English: Later fancy patterns began to be drawn on tsukesage.
Japanese: しかし、次第に凝った華やかな模様の付け下げが作られるようになっていった。
English: In the sales style of kimono in which kimono is made after taking customer's order, tsukesage is sold in the form of tanmono (a roll of cloth for one kimono, patterns are already drawn on it) just like komon.
Japanese: 客が注文してから服を作る販売形態においては、付け下げは、小紋と同様に、反物の状態で販売されることが多い。
English: In the old days, salespersons of kimono promoted the sales of tsukesage as a substitute for homongi.
Japanese: 和服を売る立場の人たちは、付け下げは訪問着の代替品になる、と宣伝して販売した。
English: This is because tsukesage, which is sold by the roll, is less expensive than a formal kimono with an ebamono design (where the pattern spreads over the kimono without its alignment being disrupted by the seams) so it would be easier to sell to customers.
Japanese: これは価格の張る絵羽物の訪問着より着尺（反物）の状態で売られている付け下げの方が安価なため客に売りやすいという意味もあった。
English: It should be noted that the sales staff wanted customers who could not afford to buy a formal kimono to purchase tsukesage instead because, depending on the degree of formality required, it could be used as a substitute for a formal kimono.
Japanese: 本来であれば訪問着をというところを価格の面で買えない場合付け下げでも買ってもらいたいということもあって、正装の度合いの点で代替品だという主張だと解するべきである。
English: Some people say that since the authority of fascism suppressed the production of homongi, people of the working class unwillingly invented tsukesage as a substitute for homongi; however that opinion is questionable.
Japanese: ちなみに「ファシズムの国家権力により訪問着の生産が弾圧されたのが原因で、労働者階級がやむなく付け下げを代替品として考案した」というような説があるが、これには反論がある。
English: While homongi (semi-ceremonial kimono) and tsukesage have patterns placed so that shoulder side is up, komon is patterned regardless of the direction.
Japanese: 訪問着、付け下げ等が肩の方が上になるように模様付けされているのに対し、小紋は上下の方向に関係なく模様が入っている。
English: For that reason, it may not be worn as formal or full dress (the reason for excluding Edo-komon is mentioned later).
Japanese: そのため礼装、正装としての着用は出来ない（江戸小紋を除く、理由は後述）。
English: Regardless of the size or density of the pattern, a kimono that has a pattern without a particular direction is generically called 'komon' nowadays.
Japanese: 現在は模様の大きさや密度に関わらず、上下方向関係なく模様が入っている着物は総称して「小紋」という。
English: There are various komon, such as 'Bingata komon,' 'tie-dyed komon,' and 'printed cotton komon,' that depend upon the dyeing technique.
Japanese: 染めの技法によって「紅型小紋」「絞り小紋」「更紗小紋」など多種多様な小紋が存在する。
English: Among them, 'Edo-komon,' 'Kyo-komon,' and 'Kaga-komon' are recognized as examples of the main techniques of 'komon'.
Japanese: その中で、主な「小紋」の技法として知られるのは「江戸小紋」「京小紋」「加賀小紋」である。
English: Meanwhile, families of feudal lords started to compete for luxury of patterns, and it was regulated by the Edo bakufu (Japanese feudal government headed by a shogun).
Japanese: その後、大名家間で模様付けの豪華さを張り合うようになり、江戸幕府から規制を加えられる。
English: For that reason, small patterns were created so that it looked like a solid color from a distance.
Japanese: そのため、遠くから見た場合は無地に見えるように模様を細かくするようになった。