nntsuzu/KFTT huggingface dataset:
English: In the former case of the traditional style, each component of Eight Views is a combination of the place for the scenery and the phenomenon or object there.
Japanese: 前者のような伝統的な形式では、八景を構成する個々の項目は、風景の対象地とそこでの事象や事物を組み合わせている。
English: In some cases (e.g. the Eight Views of Omi) the contents of phenomena and objects for Eight Views completely follow the Eight Views of Xiaoxiang and are fixed on the following eight, and in other cases (e.g. the earliest Eight Views of Taiwan) only a part of the contents is the same as the Eight Views of Xiaoxiang.
Japanese: 事象・事物の内容は瀟湘八景をそのまま踏襲し、下記の8つとする場合（例：近江八景）や、一部を同じものにする場合（例：最初の台湾八景）がある。
English: Evening glow: a combination of the red surface of the water which reflects the evening sun and other object on which the evening sun also shines.
Japanese: 夕焼け：夕日を反射した赤い水面と、同じく夕日を受けた事物の組み合わせ。
English: To give a concrete example of a component of Eight Views, the Eight Views of Omi has 'Autumn Moon at Ishiyama' (written as 石山秋月), which consists of 'Ishiyama (石山)' (the site of the scene) and 'Fall Moon (秋月)' (a phenomenon at the site).
Japanese: 個々の項目の具体例を挙げると、近江八景の「石山の秋月」のように「石山」（対象となる地）と「秋月」（その地で見られる事象）のようになる。
English: In many cases, as with the Eight Views of Xiaoxiang, the item name is made up of four Kanji (Chinese characters): the first pair and the latter pair (e.g. "金沢八景" Eight Views of Kanazawa).
Japanese: この際、瀟湘八景と同様に前2句+後2句の漢字4文字となるように項目名が設定されることが多い（例：金沢八景）。
English: On the other hand, for the New Eight Views of Japan and so on, only the sites are selected and neither phenomenon nor object there is specified.
Japanese: 一方で日本新八景などは対象地のみを選び、そこでの事象・事物は指定していない。
English: The concept of Eight Views was accepted in medieval Japan from around the 16th century, and in Korea from around the 14th century in the late Goryeo period.
Japanese: 日本には中世の16世紀頃から、朝鮮では高麗末期の14世紀頃から概念が受容されたという。
English: In Japan, the Eight Views of Omi which was originated under the direct influence of the Eight Views of Xiaoxiang is considered to be the first example.
Japanese: 日本では、瀟湘八景に直接影響を受けて考案された近江八景が最初の例とされる。
English: Many Eight Views were established in the Edo period, including Eight Views of Edo which was designed for a series of Ukiyo-e (Japanese woodblock prints).
Japanese: 江戸時代に制定されたものが最も多く、浮世絵の連作のために考案された江戸八景などがある。
English: There is a story of FUJIWARA no Kinto singing 'Sakurabito' of Saibara while rhythmically tapping a pillar with his fan at the Shishinden Hall (a hall for state ceremonies) around the prime season of the cherry blossoms, when O no Masasuke and others, who were stationed at the guard tower, came out to the garden and danced the Ha (the middle part) of 'Chikyu.'
Japanese: 紫宸殿の桜が盛りの頃に藤原公任が柱を扇で打ちながら催馬楽の「桜人」を歌ったところ、近衛陣の直所にいた多政資らが庭に出て「地久」の破を舞ったという話が残っている。
English: Dancers wear a Kasane-shozoku costume (a costume for Noh) and a mino (a straw raincoat), and partway through the dance, wear a kasa (a straw hat), which they had buckled to their waist.
Japanese: 舞人は襲装束（かさねしょうぞく）に蓑を着て途中で腰に下げていた笠を被って舞う。
English: According to "Nihongi Tsusho" (Verification of Chronicles of Japan) (authored by Kotosuga TANIGAWA), in the music of Goryeo, there is a song titled 'Soshimari' and a music instrument called 'Soshimari.'
Japanese: 『日本紀通證』（谷川士清）において、高麗曲に樂名蘇志摩利又樂具蘇志麻理ありとされるという。
English: There is a belief that Hirotsugu HAYASHI was ordered to revive Soshimari to commemorate the establishment of the Korea Protection Agency based on the Eulsa Treaty.
Japanese: 第二次日韓協約・韓国統監府設置記念で林広継に再興が命じられたという説がある。
English: It is said that the dance was designed based on the legend where Susanoo and his son Isotakeru no kami, who went to Silla after being expelled from Heaven, experienced torrential rain in the region of Soshimori and protected themselves from the rain by making straw hats from straw.
Japanese: 天を逐われて新羅に渡ったスサノオとその子五十猛神が曽尸茂利（そしもり）の地で大雨にあい、青草で作った簑笠で雨を凌いだという故事を基にしてできた舞と伝えられる。
English: It is based on the explanatory note on the first part of the story of Susanoo's killing of the Yamata no Orochi (an eight-forked great serpent), which is described in the Chigi hongi (the original record of earthly deity worship) in the volume 4 of "The Sendai Kujihongi" (Ancient Japanese History) (although it is said to be false an apocryphal book that was submitted when lecturing on the Chronicles of Japan) that is quoted from the article on Soshimari described in book 10 of volume 20 of the "Wamyo ruijusho" (Japan's oldest dictionary of Chinese characters edited in the Heian period).
Japanese: 『和名類聚抄』二十巻本第10卷にある蘇志摩利の記述を引用した『先代旧事本紀』（日本紀講筵の際提出された偽書とされる）巻第四地祇本紀の素戔烏尊によるヤマタノオロチ退治の前段の分注記事による。
English: The description of Soshimori is found in the first part of the story of the killing of the Yamata no Orochi in the arufumi (an "alternate writing" transmitted by Nihonshoki) No.4 in the section 8 of book 1 of the "Nihonshoki" (Chronicles of Japan).
Japanese: 曾尸茂梨については『日本書紀』卷第一第八段一書第四のヤマタノオロチ退治の前段に記述がある。
English: Also, in the section of Karoku, the third dangun (the king of the first Korean kingdom) in 'The First Half of the History of Dangun' collected in the "Kandan Koki" (Texts on Ancient Korean History), which is said to be an apocryphal book, the following article on Soshimori is found:
Japanese: また素尸毛犁については偽書とされる『桓檀古記』所収の「檀君世紀上編」の三世檀君嘉勒の条に次の記述がある。
English: As shrines related to Soshimori, there is a Soshimori-sha Shrine that enshrines Imori Daishin (also known as Susanoo), a subordinate shrine (its south gate faces the north side of Hikowakamiko-jinja Shrine) of Atsuta-jingu Shrine.
Japanese: 曽志茂利社という名が関連する神社は、熱田神宮の末社（孫若御子神社の北に南面）に祭神は居茂利大神（スサノオ）とされる曽志茂利社がある。
English: In his paper 'Study of Emergence and Disappearance of Ancient Countries in the Korean Peninsula' (August 1891 edition of "Journal of Historical Studies," volume 21, p.21-p.22), Togo YOSHIDA proposed that 'Soshimori in the Korean island called Soshimori, which is visited by Susanoo' is Mt. Gyuto and that was around the fourth century B.C. during the Spring and Autumn Warring States period in China.
Japanese: 吉田東伍の「古代半島諸国興廃概考」（8月号『史学会雑誌』21号p.21～22。）に素盞鳴尊の韓郷之島曽尸茂梨之処の曽尸茂梨を牛頭山とし、漢の春秋戦国時代の西暦紀元前4世紀と推定した。
English: Afterwards, Kogen-jinja Shrine was set up on Mt. Gyuto, which is located in Chuncheon, Gangwon Province, South Korea, the former territory of Silla.
Japanese: この後　朝鮮江原道春川郡朝鮮の江原道春川にある、元新羅の牛頭山に　江原神社がつくられた。
English: In the "Lecture on Chronicles of Japan in the Gangyo Era "by Emperor Yozei, which is collected in "Shaku Nihongi" (annotated text of the Nihon Shoki), KOREYOSHI no Takahisa proposed that Soshimori was So(no)hori, or the present day Seoul.
Japanese: 『釈日本紀』（述義）にある陽成天皇によるの日本紀講筵の元慶度講書（-）で、惟良宿禰高尚（惟良高尚）がソシモリを今の蘇之保留と解説した。
English: In his paper "Japanese Shares Ancestors with Koreans" (reprinted, published by Seikoshobo), Shozaburo KANAZAWA proposed that "Somori," a word resulting from subtracting the particle "shi" from "Soshimori," corresponds to "Sohori" from a phonological perspective, and further stated that the sound "mo" and the sound "ho" are substantially equivalent.
Japanese: 金沢庄三郎は『日鮮同祖論』（復刻版　成甲書房、）で「曽尸茂梨の（助辞）尸を除いたソモリは、徐伐すなわちソホリと音韻上一致し、すなわち、モとホすなわちｍｐ音の相通である」とした。
English: Choi Jun Sik (崔俊植), a professor at Ehwa Womans University and the head of the Religious Culture Studies Institute in South Korea, explains that the 'soshi' and 'mori' in 'Soshimori' refer to 'a high pillar' and 'summit or top,' respectively, thus the word 'Soshimori' means 'the summit of a high pillar.'
Japanese: 韓国の宗教文化研究院長の崔俊植梨花大学教授は、ソシモリは、「ソシ」は「高い柱」、「モリ」は「頂上・てっぺん」、「ソシモリ」は「高い柱の頂上」という意とした。
English: It is said that the music was composed by OTO no Kiyokami and the dance was choreographed by MISHIMA no Takekura by the imperial order of Emperor Ninmyo during the era of Jowa (Japan) (834 to 848).
Japanese: 承和_(日本)年間（834年～848年）に仁明天皇の勅命で、大戸清上が曲を、三島武蔵が舞を作ったとも言われる。
English: Alternatively, there is a theory that considers that it was composed by Gakusho Azukari (the Lower chamber of music) Jugoinojo (Junior Fifth Rank, Upper Grade) ONAKATOMI no Narifumi in 834.
Japanese: また一説には承和元年（834年）に楽所預・従五位上大中臣成文が作ったという説もある。
English: Mokoku (模刻) is a calligraphic term meaning to create a 'hojo' (copybook printed from the works of old masters of calligraphy) by reproducing and engraving handwriting on a piece of stone or wood, for the purpose of preservation, appreciation, and learning.
Japanese: 模刻（もこく）とは、書道において、書蹟を石や木に模写して彫りつけ、保存・鑑賞・学書用の書蹟「法帖」を制作すること。
English: The mokoku is a way to preserve handwriting written on paper by making exact copy of original characters on a piece of stone or wood and then engraving the copied characters with gads and chisels.
Japanese: 模刻は紙に書かれた書蹟を保存する時に行われるもので、石や木に原本の文字を精巧に模写し、これをたがねやのみによって彫りつける。
English: In short, it is a way to change a writing medium, from paper to stone and wood, for the purpose of preservation and appreciation.
Japanese: つまり、紙から石や木への媒体変換を行い、保存と鑑賞に供するのがこの方法である。
English: An engraved piece of stone or wood itself, however, is not used, since a rubbing is made as needed.
Japanese: ただし刻まれた石や木そのものが用いられることはなく、拓本を適宜採って用いる。
English: This is why rubbings of calligraphy handwriting that was not originally the inscription are sometimes found.
Japanese: 書道の書蹟で、時折元が碑でもないのに拓本になっているものがあるのはこのためである。
English: The handwriting thus converted to a suitable form for preservation, appreciation and learning by usually copying and reproducing is referred to as 'hojo,' of which those made by mokoku are called 'kokujo,' while those made by writing/copying directly on paper are called 'bokujo.'
Japanese: このような保存・鑑賞・学書に適した形に仕立て上げられた、多く模写や複製による書蹟を「法帖」というが、特に模刻によるものを「刻帖」、対して紙に直接筆記・模写したものを「墨帖」と呼ぶこともある。
English: The mokoku is a calligraphy preservation and enjoyment method unique to China, and is rarely seen in Japan and other countries having the same calligraphy culture as China.
Japanese: 中国独自の書蹟保存・享受法であり、同じ書道文化を持つ日本などではほとんど見られない。
English: This is because in China records were thought to be best preserved when inscribed on metal or stone.
Japanese: これには中国で、記録保存には金石文を用いるのが最適と考えられていたことがある。
English: Stone and wood pieces were recognized as just the media in other countries, while they were considered differently to have superior keeping qualities in China.
Japanese: 他の国ではあくまで石や木は一媒体に過ぎなかったが、中国ではそのように考えず特に保存性に優れたものとして認識していたのである。
English: Building a monument was originally so common in China that the Chinese government put a ban on it.
Japanese: 元々中国は朝廷が碑の建立を禁じる命令まで出すほど、碑を建てることが日常的・一般的な国であった。
English: Chinese people thus are thought to have known by experience that stone and wood, unlike paper, could remain intact almost permanently as long as a sufficient preservative system is provided.
Japanese: このため紙と違って、保存体制さえしっかりしておけば半恒常的に完全な形で残すことが可能であるという石や木の性質を経験的に知っていたと考えられる。
English: Paper, which was invented in China, became widespread among the general public to be used as a writing medium in the comparatively early Wei-Jin-Nanbeichao periods.
Japanese: 中国で発明された紙が、自国内で一般にも浸透して筆記媒体として用いられるようになったのは魏晋南北朝時代の比較的初期の頃である。
English: So calligraphers of those periods are thought to have almost always written on paper.
Japanese: つまり同時代の書家たちは、ほとんどの場合紙に書をしたためていたと考えられる。
English: Calligraphers, who were to significantly change calligraphic works later, appeared in the world of calligraphy, weaving through their ways through the political chaos in the period.
Japanese: この時代の政治的混乱をすり抜けて、書道界ではその後の書を大きく変える書家が登場した。
English: They perfected the artistic aspects of gyosho (cursive style of writing Chinese characters) which had been nothing but scrawled clerical script and kaisho, or just a neat version of gyosho, which brought about the impact and revolution in the world of Chinese calligraphy.
Japanese: 彼らは隷書の走り書きにすぎなかった行書と、それを整えただけの楷書を芸術的に完成させ、中国書道界に衝撃と一大変革をもたらしたのである。
English: They came to be called 'calligraphy saints,' and many calligraphers wanted to learn from works of them and successors of their styles, which led to a strong need for creating the hojo, a copy or reproduction of the works.
Japanese: このため「書聖」とまで呼ばれた彼らやその流儀を受け継いだ人々の書を学びたいと思う書家は多く、その複写・複製である法帖の制作が強く求められた。
English: Because in those days before photography and photocopy the only way to copy out characters written on paper is through looking at the original characters, and calligraphy, unlike documents, values 'shape of a character,' not everyone could possibly copy calligraphy with enough skills needed.
Japanese: しかし写真もコピーもない当時、紙にしたためられている文字を写し取るには原本を見ながらの模写しか方法がない上、文献と違って書蹟は「文字の形」が重要なため、写すからにはそれ相応の技巧が必要になり、とても誰にでも出来るというような仕業ではなかった。
English: To clear this problem, a new method named 'tomo' was invented.
Japanese: この問題を解決するために生まれたのが、「搨模」（とうも）と呼ばれる方法である。
English: Tomo was based on the 'soko tenboku,' a kind of character tracing method where a piece of paper was put on a work to be copied, only outlines of characters were traced with thin lines, and then areas enclosed by the lines were colored in black.
Japanese: これは「双鉤填墨」という方法を用いるもので、まず写したい作品の上に紙をかぶせ、文字の輪郭だけを細く写し取り、その上で中を黒く塗りつぶすという一種のなぞり書きであった。
English: The development of this technique allowed even people with poor skills to copy calligraphy once they knew how to do it, and made it possible for those who mastered the skill to make a copy just like the original handwriting.
Japanese: この技術の開発により、あまり技術のない人でもやり方さえ覚えれば模写が出来るようになり、技法を極めれば真筆と見まがうような模写を行うことも可能になったのである。
English: A copy, however, still needed to be made by hand even with this method, so a more efficient method was sought later on.
Japanese: しかしこの方法も手で写していることには変わりないため、やがてもっと効率のよい方法が求められるようになった。
English: The mokoku was developed in the late Tang Dynasty, and Southern Tang which was known as a cultured dynasty in the Wudai Shiguo period is said to have used this method to compile shujo (anthology of hojo) named "Shujo Shogen-jo" and "Shujo Choseido-jo."
Japanese: 模刻が発生したのは唐代後期のことであり、五代十国の文化王朝として知られる南唐ではこの手法を用いて『集帖昇元帖』や『集帖澄清堂帖』という集帖を作ったと言われている。
English: In the Northern Sung period, people took an academic approach to calligraphy, and studying, collecting and appraising of old works were more popular than creating calligraphy works.
Japanese: 北宋代は書作よりも昔の書の研究や蒐集・鑑定が広く行われ、書に対して学問的アプローチの行われた時代であった。
English: Zhao Kuang-yin and Song Taizong, emperors of the dynasty, also liked to study and collect calligraphy works themselves, and ordered Wang Zhu, who was a court calligrapher in the Hanlin Academy and on the list of Chinese calligraphers, to compile a 10-volume calligraphy book named "Chunhua ge Tie" featuring new and old calligraphy works, especially those by Wang Xi-zhi, in 992.
Japanese: 朝廷でも皇帝の趙匡胤や太宗(宋)自らが書の研究や蒐集を愛好し、淳化3年（992年）には翰林侍書の中国の書家一覧王著に命じて、王羲之を中心とする古今の書蹟を集めた書蹟集『淳化閣帖』全10巻を編纂させた。
English: Since an engraved piece is durable and can create many duplicates by rubbing, mokoku was the best method for those who studied calligraphy as well as researchers and collectors.
Japanese: 一度彫ってしまえば保存が利く上、いくらでも拓本を採って複製を作ることが可能な模刻は、学書者にとっても研究家や蒐集家にとっても最適であったのである。
English: Since then, mokoku had become so popular that old works were always copied with this method when creating hojo.
Japanese: これ以降、昔の書蹟を模写し法帖化するには、模刻が必ず用いられるというほどに普及することになる。
English: As the mokoku became widespread, however, its defects were gradually revealed, resulting in decreased reliability.
Japanese: だが、模刻が広まるにつれ、段々とその欠点が露呈して信頼性が下がってきた。
English: In the process of making the piece of stone or wood itself, however, original characters once need to be copied and the copied characters need to be engraved.
Japanese: しかし、その石や木自体を製作する過程で、一度原本から文字を模写する必要があるし、さらにその文字を彫らなければならない。
English: This means that how well the mokoku is conducted directly depends on skills of those who copy and engrave characters.
Japanese: このことは字を模写する人間や彫る職人の腕に、直接模刻の出来がかかっていることを意味している。
English: The fact that multiple people are involved in copying records also leads to errors during the process.
Japanese: それに複数人の手を経て記録を伝写すること自体が、途中で誤りを生む要因にもなる。
English: Stone and wood have greater durability than paper, but they do not last forever.
Japanese: またいくら紙よりは保存性がよいといっても、石や木は永遠不滅のものではない。
English: In addition, one mokoku is far from enough for popular handwriting.
Japanese: それに人気のある書蹟ならば、1回模刻しただけではどうしても足りない。
English: Thus, too many mokoku were made and hojo was overproduced by carrying out mokoku based on a rubbing made by mokoku, on the output of which mokoku is done again, through different periods of history.
Japanese: かくして時代を越えて模刻の拓本から模刻が行われ、そこからさらに模刻が行われるという模刻の乱発と法帖の乱造が発生した。
English: Many fraudulent works were already seen even for "the Chunhua ge Tie" with which mokoku began to be used in earnest.
Japanese: 本格的に模刻の始まった『淳化閣帖』からして既に大量の偽物が紛れ込んでいた。
English: The method of 'mokoku' itself is not to blame for this; nevertheless, it cannot escape being criticized for allowing fraudulent works to circulate because excessive use of the method led to the situation where calligraphy works were copied routinely without criticism.
Japanese: これは「模刻」という手法自体に責任のある話ではないが、模刻の乱発で書蹟が無批判のままに引き写される行為が日常化したことにより、偽物が混じりこむ隙を作った責任はやはり免れ得ない。
English: The study of old documents was based on the 'empirical analysis approach,' and seen from this perspective, past approaches to mokoku were too irresponsible to avoid criticism.
Japanese: 考証学の基本姿勢は「実証的にものごとを分析すること」であり、そういう態度からすれば過去の模刻の姿勢はあまりにいい加減なものであり、批判すべき対象であった。
English: The criticism against mokoku then raised doubts about the hojo which had been handed down using the method and promoted respect for monuments.
Japanese: さらにこのような模刻に対する批判は、それを用いて伝承されて来た法帖自体に対する疑惑と碑への傾倒に発展した。
English: In other words, hojo, made through repetition of mokoku, was considered unreliable, while monuments were deemed more authentic because they, despite being weathered, remained as they had originally been to some extent.
Japanese: つまり模刻を何度も経ている法帖は信用がならないが、風雪にさらされるなどしてもある程度までそのままの姿を留めている碑の方が信頼出来ると考えたのである。
English: Juan Yuan, among others, determined in his book 'Northern stelae and Southern copybooks,' based on the above theory, that northern stelae, or monuments engraved in Northern Dynasty in the period of the Northern and Southern Dynasties (China), compared favorably to nanjo, or hojo made in Southern Dynasty in the same period, which gained support from Bao shu-cheng and many other scholars.
Japanese: なかんずく阮元は、南北朝時代(中国)に北朝で彫られた碑である北碑と南朝の法帖・南帖を比較して「北碑南帖論」を著し、先述の論理から北碑を南帖よりも優れたものとして断じ、包世臣など多くの学者がこれに賛同した。
English: In addition, due partly to an increase in research on the calligraphy of the period when only seal scripts, bronze inscriptions, and other monuments were available, the calligraphy world of the Qing Dynasty was completely dominated by 'epigraphy.'
Japanese: この他にも篆書や金文など碑しかなかった時代の書の研究が盛んになったこともあり、完全に清の書道界は碑を学ぶ「碑学」主体となった。
English: Against this background, mokoku was eventually deemed as a war criminal that diminished the value of the hojo to keep it out of the mainstream of the calligraphy world.
Japanese: このような流れの中で模刻は結果的に法帖の価値を損ね、学界の主流を法帖から外してしまった戦犯ということになった。
English: Moreover, the method of mokoku itself also became technologically outdated by the development of the printing technology, and had no choice but to disappear on its own.
Japanese: また、技術面でも印刷術の発展によって模刻という手法自体が時代遅れとなり、自然消滅せざるを得なくなったのであった。
English: As discussed above, mokoku is a problematic copying method with various defects which eventually even destroyed the hojo's credibility at one point, but it should also be remembered that thanks to the mokoku, scattered and lost calligraphy works can be seen today.
Japanese: 上述のように模刻はさまざまな欠点をはらみ、結果的に一時とはいえ法帖の信頼性を失わせるところまで追い込んでしまった問題のある伝写法であるが、一方でこの模刻によって現在散逸した書蹟が伝わっているという事実があることも忘れてはならない。
English: For example, original works of Wang Xi-zhi and Wang Xianzhi, a father and son who were known as 'two kings,' do not remain.
Japanese: たとえば王羲之・王献之の親子、いわゆる「二王」には真筆が遺されていない。
English: The original of 'Lan Ting Xu,' the best known work of Wang Xi-zhi, alone had managed to survive, but faced the unfortunate situation where over-possessive Tang Taizong of the Tang Dynasty had it buried in his mausoleum, losing a chance to remain.
Japanese: しかし、代表作「蘭亭序」だけはせっかく真筆が残っていながら、唐の太宗(唐)の過剰な独占欲のために陵墓に埋められ、残る機会を失うという不幸に見舞われた。
English: It was nothing more or less than the mokoku that allowed handwriting of 'the two kings' to be copied repeatedly and passed down to subsequent generations so that we can appreciate the works.
Japanese: 我々がそんな「二王」の書蹟を知ることが出来るのは、この模刻によって累々と書蹟が伝写されて来たからに他ならない。
English: A number of works, as well as those of said father and son, could not be passed down to today without mokoku.
Japanese: またこの親子のものだけでなく、もし模刻が存在しなければ伝わることがなかったと思われる書蹟も数多い。
English: From that standpoint, mokoku has made enormous contributions to the world of calligraphy and so much so that the calligraphy world owes much to the existence of mokoku.
Japanese: このようなことを考えると、書道界における模刻の功績は決して軽くはなく、むしろその存在に負うところが多いことが分かる。
English: For this reason, to face books made by mokoku is absolutely necessary for the study of calligraphy, and the books need to be used after understanding and considering characteristics and risks of the act of 'mokoku.'
Japanese: このため模刻本と対することは書道研究の上で避けられない事態であり、そのような時は「模刻」という行為の特性とその行為がはらんでいるリスクを理解した上で、よく考えて使用する必要がある。
English: Tokatsu Eiga-sha Film Company (established in 1931 - dissolved in 1932) is a film company once existed in Kyoto.
Japanese: 東活映画社（とうかつえいがしゃ、1931年設立-1932年解散）は、かつて京都に存在した映画会社である。
English: When Toa Kinema, which had been managing 'Tojiin Studio' originally constructed by Shozo MAKINO in the precincts of Toji-in Temple in Kyoto in 1921, went into a slump in business in September 1931; 'Tokatsu Eiga-sha Film Company' was established as an agency of the said company.
Japanese: かつてマキノ省三が1921年（大正10年）に京都・等持院境内に建設した「等持院撮影所」をその後経営していた東亜キネマが業績不振に陥った1931年（昭和6年）9月、同社の代行をする会社として設立されたのが「東活映画社」である。
English: ABE had produced the last movie of Toa Kyoto, "Satsunan Daihyotei Ogonhen," which had been released the next month on October 15, and the sequel to this movie produced with the same cast, "Satsunan Daihyotei Bannohen," was released on October 31 as the first movie after the establishment of Tokatsu Eiga-sha Film Company.
Japanese: 安倍は東亜京都の最後の作品『薩南大評定黄金篇』の映画プロデューサーであり、同作は翌10月15日に公開されたが、同じ座組みで製作したその続編『薩南大評定万能篇』を10月31日に東活映画設立第一作として公開した。
English: This was a huge movie in which Taizan GOTO, Matsuo HASHIMOTO, Daisho HORIE and Jun SHIGEMASA joined as the directors, and Mitsusaburo RAMON, Komako HARA and Yukiko OGAWA as the cast.
Japanese: 同作は、後藤岱山、橋本松男、堀江大生、重政順が監督として名を連ねる大作で、羅門光三郎、原駒子、小川雪子が出演した。
English: The next year, in October 1932, 'Tokatsu' dissolved in a short term and Tojiin Studio was closed.
Japanese: 翌1932年（昭和7年）10月、早くも「東活」は解散、等持院撮影所は閉鎖された。
English: Tojiin Studio was closed forever and put up for auction in May 1933.
Japanese: 等持院は永遠に閉鎖、翌1933年（昭和8年）5月等持院撮影所は競売に伏された。
English: The last work by 'Tokatsu' was "Kessen Kojinyama," which was directed by Shigeru KANEDA and Rinzo OTOMO starring Ryunosuke TSUKIGATA; it was distributed by Takamura's 'Takarazuka Kinema' and released on December 31, 1932.
Japanese: 「東活」製作の最終作品、金田繁・大伴麟三監督、月形龍之介主演の『決戦荒神山』は、高村の「宝塚キネマ」の配給で1932年12月31日に公開された。
English: "Makino Film Productions" (established in 1923 - merged in 1924) is a Japanese film company which once existed.
Japanese: マキノ映画製作所（-えいがせいさくしょ、1923年設立-1924年合併）は、かつて存在した日本の映画会社である。
English: It was an independent film production company established in the earliest days of Japanese film industry, and the company was active and successful in the 1920's.
Japanese: 1920年代（大正末期）の日本映画において活動し成功した、初期の独立プロダクションである。
English: The company went into full-fledged operation with film director Teinosuke KINUGASA who had been an actor, making a utility actor Tsumasaburo BANDO rise to stardom, and launching the youngsters in their early 20s into the film industry, Rokuhei SUSUKITA as a scriptwriter and Buntaro FUTAGAWA and Kintaro INOUE as film directors.
Japanese: 俳優だった衣笠貞之助を監督としてフル稼働し、大部屋俳優阪東妻三郎をスターにし、20代前半の若者たちを脚本家・寿々喜多呂九平、映画監督・二川文太郎、井上金太郎としてデビューさせた。
English: The company was founded by Shozo MAKINO, the pioneering director of Japanese films, on June 1, 1923.
Japanese: 1923年（大正12年）6月1日、先駆的映画監督である牧野省三が設立した。
English: Mikado Shokai,' established by Makino as a filmmaker for producing educational films in 1919, were absorbed into Nikkatsu (Japan Moving Picture Co., Ltd), by Einosuke YOKOTA, the president of Nikkatsu, who saw MAKINO's independent activities as a threat to his business.
Japanese: 牧野が1919年（大正8年）に設立した「教育映画」の製作会社「ミカド商会」は、牧野の独立に脅威を感じた横田永之助によって日活に吸収された。
English: Although Makino went back to work as a director at Nikkatsu for a while, he again established a new company, 'Makino Educational Films' in 1921.
Japanese: 牧野もいったん日活の一監督に戻るが、ふたたび1921年（大正10年）に「牧野教育映画製作所」を設立した。