nntsuzu/KFTT huggingface dataset:
English: There is a food called '辛子明太' in the Korean Peninsula, which is 'cod' processed with red peppers (generally, '辛子' means peppers.)
Japanese: 朝鮮半島では辛子明太という食べ物があるが、これは唐辛子で味付けした「タラ」である。
English: Processed walleye pollack was already prevalent in the food culture of the Korean Peninsula by the 17th century.
Japanese: スケトウダラを加工して食べる食文化は、朝鮮半島で17世紀ごろには広まっていた。
English: Just after the Russo-Japanese War to the middle of the Pacific War, the Ministry of Railways (later known as Japan National Railways and today's JR group) was operating the Shimonoseki-Busan ferry between Shimonoseki City and then-Japanese territory Busan City (today's Busan Metropolitan City) in Korea (today's Republic of Korea).
Japanese: 日露戦争直後から太平洋戦争中にかけて、鉄道省（後の日本国有鉄道→現・JRグループ）は下関市と当時日本領であった朝鮮（現・大韓民国）の釜山広域市との間に関釜連絡船を運航していた。
English: Fermented peppered ovary from 'mentai' namely walleye pollack called 'Myonnajjo' in Korean language was imported to Shimonoseki via the ferry.
Japanese: この連絡船を経由して、明太の卵巣の辛子漬け（「明卵漬（ミョンナッジョ）」）が下関へ輸入された。
English: In 1949, ovaries were dipped in a red pepper sauce and went on the market in Hakata under the name karashi-mentaiko,
Japanese: 1949年に唐辛子等を使った調味液に漬ける漬け込み製法の辛子明太子が博多で発売された。
English: Later in 1959, an improved karashi-mentaiko went on the market, and its recipe was distributed free of charge and was prevailed in Hakata.
Japanese: その後、1959年に改良された辛子明太子が発売され、レシピの無料配布等で博多中に広まった。
English: Further, karashi-mentaiko was made in a new method to preserve the product longer by reprocessing karashi-mentaiko and dredging it with red pepper, which was sold in Shimonoseki around 1960.
Japanese: さらに下関では1960年頃には日持ちをよくするために唐辛子をまぶす再加工をしたまぶし製法の辛子明太子が発売された。
English: In 1975 when the Sanyo Shinkansen bullet train line reached Hakata, the Hakata specialty karashi-mentaiko spread rapidly throughout the whole country before karashi-mentaiko in Shimonoseki.
Japanese: 1975年に山陽新幹線が博多駅まで開業した際、博多名産・辛子明太子のほうが広く世間に広まった影響から急速に全国へ波及した。
English: As the Hakata product went on the market first, the dipping process product developed in Hakata became more popular than the reprocessed type developed in Shimonoseki.
Japanese: このために下関のまぶし製法よりも博多で盛んであった漬け込み製法が主流となった。
English: However, for a smaller market, the reprocessed type products are also being manufactured and distributed today as a high-grade article and these two types are successfully segregated (there is an impression that only the reprocessed method have been adopted by manufacturers of Shimonoseki such as Maeda and so on, but both methods have been adopted in Shimonoseki from the past).
Japanese: また、まぶし製法も少数ながら生産されており市場向けの高級品として流通し住み分けがなされている（下関では前田によりまぶし製法のみを行っているイメージがあるが、古来より両製法とも行われている）。
English: In the '80s, it began to sell in department stores and retail stores other than souvenir shops, and today it is used as an ingredient for rice balls and pasta country-wide.
Japanese: 1980年代には土産物の販売ルート以外にも、百貨店・量販店で広く販売されるようになり、全国でおにぎり・パスタの具として広く利用・販売されている。
English: In 2007, the sales volume of karashi-mentaiko for processing use exceeded that of souvenir use.
Japanese: 2007年には、おにぎりなどの加工用辛子明太子の出荷量が、ついに土産用の辛子明太子の出荷量を逆転した。
English: Although expensive products that retain the original shape of the ovary are mainly sold as gifts or used at receptions, and lower priced products that do not retain the original shape are sold for domestic consumption, there is no difference in quality.
Japanese: 卵巣の形を保ったままの高価なものは贈答や接待に用いられ比較的安価な形の崩れたものは家庭用として好まれるが、品質には特に違いはない。
English: These days, options of more attractive 'tinted products' and 'color free' health-oriented products become available at more and more stores.
Japanese: 最近は、見た目に美しい見栄えのする「着色タイプ」と健康志向に対応した「無着色タイプ」が選べる店が多くなっている。
English: It is sometimes dressed with mayonnaise (mentai-mayonnaise), dairy cream and cheese.
Japanese: マヨネーズと和えて「めんたいマヨネーズ」としたり生クリームやチーズと和える場合もある。
English: Pasta with sauce that uses the 'mentai-mayonnaise' is sometimes served with the name 'tarako spaghetti' or 'mentai spaghetti.'
Japanese: マヨネーズを加えたソース(調味料)をパスタの上にかけて「たらこスパゲティ」（明太スパゲティとも）とすることもある。
English: Boiled pasta with karashi-mentaiko broken into flakes with a topping of Mominori (toasted and crushed dried laver seaweed) is also called by the names in some cases.
Japanese: 単純にほぐした明太子とバターをゆでたパスタとあえ、もみ海苔を降りかけたものも同名で呼ばれることがある。
English: Some people fond of chazuke with karashi-mentaiko and Narazuke (pickles seasoned in sake lees) say that these are 'the best combination for green tea chazuke.'
Japanese: なお、お茶漬けの具材としては奈良漬と合わせ、一部のお茶漬け愛好家達の間で「緑茶漬けに合うゴールデンコンビ」とされている。
English: Mentaiko' generally means Karashi-mentaiko, however, in some regions in western Japan such as Fukuoka Prefecture, 'mentaiko' indicates pepper-less cod roe or 'tarako' thus caution should be exercised when using these names as people in different regions refer to them differently.
Japanese: 「明太子」という言葉は全国的に見れば辛子明太子のことを指す言葉として使われる場合が多いが福岡県をはじめとした西日本の一部地域では唐辛子を使わない、いわゆる「たらこ」を示す言葉として辛子明太子とは明確に使い分けられるため注意が必要である。
English: As aforementioned, mentaiko originally means 'children of walleye pollack' and this indicates 'cod roe.'
Japanese: 前述の通り明太子とは「スケトウダラの子」という意味であり「たらこ」を示す言葉として使う方が本来正しい。
English: However, it is thought that when 'karashi-mentaiko' was brought as souvenirs to the regions where there was no word such as 'mentaiko' for cod roe, an abbreviated word form of 'karashi-mentaiko' or 'mentaiko' spread throughout the country.
Japanese: しかし、元々たらこを示す言葉としての「明太子」が使われない地域にお土産としてメジャーになった「辛子明太子」がもたらされるうちにその「辛子明太子」の略称としての「明太子」が全国的に広がっていった物と考えられる。
English: When it is used as the name of a dish, a further abbreviation in the form of 'mentai' indicating 'karashi-mentaiko' is often used as shown above in the case of 'mentai spaghetti.'
Japanese: 料理名等に使われる時には上記の「明太スパゲティー」の様にさらに略した「明太」（めんたい）が「辛子明太子」を示す言葉として使われることもしばしば見受けられる。
English: Among female demon masks called "Hanya [female demon] masks," the one which almost became a snake with the worst karma is called Shinja.
Japanese: 「般若の面（はんにゃ）」と呼ばれる女の鬼の面の中でも、もっとも罪業深く、ほとんどヘビになってしまった面を真蛇（しんじゃ）と呼ぶ。
English: It is said that the face almost turned to that of a snake due to excessive jealousy, consequently the ears removed, the mouth stretched from ear to ear, the tongue showing, the fangs are long, and the hair is almost lost.
Japanese: 嫉妬のあまり、顔がほとんど蛇と化し、耳は取れ、口は耳まで裂け、舌が覗き、牙も長く、髪もほとんどなくなるとされている。
English: Roji was originally written as "路地," but the name of '露地' (Roji) appeared in "Nanporoku," a tea book, and so on in the Edo period.
Japanese: 本来は路地であるが、江戸時代の茶書『南方録』などにおいてこの「露地」という名称が登場している。
English: This is the word appeared in 'Hiyuhon' (the third chapter) of "Lotus Sutra," which suggests the situation that the tea ceremony of that time aimed at theorization using the Buddhism.
Japanese: これは『法華経』の「譬喩品」に登場する言葉であり、当時の茶道が仏教を用いた理論化を目指していた状況を窺わせる。
English: It was distributed by the masters of tea ceremony and others in the position to emphasize the Zen sect after that, and today it has been established as the elegant name of a tea garden.
Japanese: 以後禅宗を強調する立場の茶人達によって流布され、今日では茶庭の雅称として定着している。
English: It is said that those simple gardens attached to tea rooms were developed in urban Machiya (a traditional form of townhouse found mainly in Kyoto) (mercantile house) with limited premises, not in temples or others with broad premises.
Japanese: 茶室の茶室に付随する簡素な庭園は、広大な敷地を持つ寺院などではなく、敷地の限られた都市部の町屋(商家)において発達したと考えられる。
English: Most of Maguchi (the length of the front facade of a building or frontage of a plot of land from corner to corner) in such Machiya were used by shops, and thereby a long and narrow garden called Toriniwa (unfloored walkway) was developed and then 'Roji,' a passage leading to the tea room was separately created.
Japanese: こうした町屋では間口のほとんどを店舗にとられていたため、「通り庭」と呼ばれる細長い庭園が発達していたが、さらに茶室へと繋がる通路、「路地」が別に作られるようになった。
English: A diagram of the four-and-a-half-mat tea room of Joo TAKENO's residence in Sakai City, Osaka Prefecture, inserted in "Yamanoue Soji ki" (The Record of Soji YAMANOUE), which reveals that this tea room had a dedicated passage called 'Waki no Tsubonouchi' (side passage garden) and a dedicated garden called 'Omote no Tsubonouchi' (front passage garden).
Japanese: 『山上宗二記』には堺市の市中にあった武野紹鴎の邸宅の四畳半の茶室の図が掲載されており、図によればこの茶室が「脇ノ坪ノ内」という専用の通路と「面（おもて）ノ坪ノ内」という専用の庭をもっていたことがわかる。
English: Steppingstones are described in a diagram of the tea room established by Shoei MATSUYA, Nurishi (a maker of lacquer ware and handiworks) in Nara, around the same time, and 'Shogi' (camp stool, folding stool), allegedly a prototype of Machiai (tea house to lend seats and tables, or rooms), is also written ("Matsuya's Secret Writings on Tea Ceremony.")
Japanese: 同じころ奈良の塗師松屋松栄が設けた茶室の図には飛び石の記載があり、また待合の原型と思われる「シヨウギ（床几）」の書き入れもある（「松屋茶湯秘抄」）。
English: Construction of tea rooms further flourished in the period of SEN no Rikyu, and all the Sukisha (zen philosopher) of that time exhibited their originality and ingenuity for construction, and so-called Rikyu-style tea rooms were also matured under such circumstances.
Japanese: 千利休の時代には更に茶室の建築が盛んとなったが、当時の数寄者達はこぞって建築の創意工夫をしていた時期であり、いわゆる利休風の茶室もこうした状況で熟成された。
English: SEN no Rikyu completed thatched style (country-like) tea in his last years, with pastoral and mountainous sentiment as the subject of expression, in which a tea room would express a farmer's straw-thatched house and a tea garden, a taste of the road to a mountain temple.
Japanese: 千利休は晩年にいたって草庵風の茶を完成させ、田園的・山間的情趣を表現の主題とし、茶の室は農家の藁屋を、茶庭は山寺への道の趣を表そうとしている。
English: Moreover, the material is not sufficient for the origin of Nijiriguchi (crawling entrance), and there is no concrete grounds in the widespread assertion that it was created by Rikyu.
Japanese: なお躙り口の発生に関しては資料が不足しており、流布している利休の創作という主張も確たる根拠があるわけではない。
English: However, this Nijiriguchi consequently removed the veranda (a narrow wooden passageway along the edge of a house facing the garden) used as Machiai at Nakadachi (break between the light meal and the actual serving of tea), and Koshikake-Machiai (a simple styled bench for guests to wait for a tea ceremony) was separately set.
Japanese: 但しこの躙り口によって、それまで中立ちに際しての待合に用いられていた縁側が取り除かれ、腰掛待合が別に設けられるようになった。
English: Furthermore, it is considered that Tsukubai (stone washbasin) was completed also in this period, which replaced Chozubachi (a basin for water to purify before entering shrine).
Japanese: また手水鉢に代わるつくばい（蹲踞）もこの時期に完成したものと考えられる。
English: Anything artificial was avoided in Roji without planting any tree existed in village or town and only the steppingstones and Chozubachi configured the framework of the garden to convey a taste of mountains as natural as possible.
Japanese: 露地には樹木等は里にある木も植えず人工を避け、できるだけ自然に山の趣を出すため、庭の骨組みをつくるのは飛石と手水鉢である。
English: Later Ishi-doro (stone lantern) was installed as a light for evening tea parties, the existing Chozubachi and Toro (a garden lantern) used for gardens were preferred to the new creation, and bridge piers, gravestones, and others that no longer needed due to abolition or improvement were reused by the masters of tea ceremony, which were introduced as an important view in the garden.
Japanese: 後には石灯籠が夜の茶会の照明として据えられるようになるほか庭に使われる手水鉢や灯籠は、新しくつくるよりは既存のものが好まれ、また廃絶や改修で不要となる橋脚や墓石などが茶人に見立てられ、庭の重要な景として導入されていく。
English: Such configuration of tea rooms was also incorporated in temples and samurai residences with huge premises, and the Chatei stylized as in the current tea ceremony is equipped with Nakakuguri (a type of middle gate used to divide an outer tea garden from an inner tea garden), Koshikake-Machiai, and Tsukubai.
Japanese: こうした茶室の構造は敷地の広い寺院や武家屋敷にも取り入れられるようになり、中潜りや腰掛待合とつくばいを備えた現在の茶席に見るような様式化した茶庭が成立する。
English: Chanoyu (tea ceremony) and Chatei were nurtured by town people as this, but its content considerably changed when they were under the management of Busho (Japanese military commander), such as Shigenari FURUTA and Masakazu KOBORI who were the disciples of Rikyu and developed Buke sado (tea ceremony of samurai family).
Japanese: こうして町衆の人々に育まれた茶の湯や茶庭はやがて、利休の弟子で武家茶道を発達させた古田重然や小堀政一のような武将の手に移るころには、かなり内容が変化している。
English: Roji became wider partly since they were created in large daimyo gardens (a garden of a feudal lord), in which the changes were added as making a fence or two, and also the visible factors were strengthened.
Japanese: 露地は広い大名庭園内につくられた関係もあって広くなり、途中に垣根を一つ二つつくって変化をつくり、また見る要素を強くするようになる。
English: Tsukiyama (small hill) was added in Roji close to Hiraniwa (a flat Japanese garden without hills mainly expressing ocean view), streams and ponds were also created, and additionally Ishi-doro (stone lantern) became an important highlight.
Japanese: 平庭に近かった露地に築山をもうけ、流れや池までもつくり、また石灯籠が重要な見どころとなっていく。
English: There was an aspect that it would touch the tradition of Shinden-zukuri style (architecture representative [characteristic] of a nobleman's residence in the Heian period) garden and the flow of rock arrangement (in Japanese landscape gardening) in Shoin (reception room) garden, and the garden in Katsura Imperial Villa exists as the example of such gardens.
Japanese: ここには寝殿造風な庭園の伝統や書院庭の石組みの流れと触れあう面があったがこうした庭園の例としては桂離宮の庭園が現存する。
English: It is said that the creativity was stronger in tea and garden of Oribe and Enshu than in those of Rikyu, who tried to incorporate even his intention in naturalness, while Oribe's intention was pushed out on the surface in view-emphasized Chatei, where large steppingstones and Tatamiishi stone (tatami rocks) were put, but something unusual custom in the nature was sought.
Japanese: 織部や遠州の茶や庭園は利休のそれに比べると作意が強いといわれ、利休が作意をも自然らしさの中に含みこもうとしたのに対し、織部の鑑賞を重視した茶庭には、作意が表面に押し出され、飛石や畳石を打つときは大ぶりなもの、自然にあまり見られない異風なものを探し求めたとされる。
English: Oribe preferred to use hewn stones, especially large ones for steppingstones while small round stones had been used before hand, and showing his style well in the sharp shape of Oribe Toro, allegedly devised by himself, elaborated of a plan installing this 'Oribe Toro,' with full of his creation in Roji as a basin lamp of Tsukubai.
Japanese: それまで飛石には小さい丸石を使っていたのを織部は、切石のしかも大きいものを好んで用いているほか、自身が考案したと伝えられる織部灯籠のきりっとした形は彼の作風がよく現れ、露地にあっても作意の横溢したこの「織部灯篭」をつくばいの鉢明かりとして据えるなど興趣をこらしている。
English: Furthermore, the Oribe Toro is also called 'Kirishitan [Christian] Toro' since the image seems to be that of the Virgin Mary engraved on the pole of this lantern, which lead to the speculation that Oribe was Christian, but there is no proof of the image being Mary and Oribe being Christian.
Japanese: なおこの織部灯篭は、その竿部分にマリア像らしき像を掘り込んでいることから別名「キリシタン灯篭」ともいい、織部がキリシタンであったとの憶測も呼んでいるが、像がマリアであることも織部がキリシタンであったこともともに確証はない。
English: Enshu KOBORI, a disciple of Oribe, known as the master of landscape gardening, forbade overlapping of the flowers in a tea ceremony and those in the garden as it would spoil the interest, consequently it became a custom in most of the later tea ceremony world.
Japanese: 織部の弟子である小堀遠州は作庭の名人として知られるが、席中の花と庭園の花が重複することは興を削ぐとして禁止し、以後の茶道界の大部分で慣習となっている。
English: Ancient Chinese chromatic scale is the twelve kinds of average pitch that are used in Chinese or Japanese traditional music.
Japanese: 十二律（じゅうにりつ）とは、中国や日本の伝統音楽で用いられる12種類の標準的な高さの音。
English: These are the twelve tones arranged at intervals of semitone, which is not a temperament, within an octave, using the principle of the sanfen sunyi.
Japanese: 三分損益法によって1オクターブ間に平均律でない半音の間隔で配された12の音である。
English: Ritsu (melody) originally refers to a bamboo tube that determines the tone, and the twelve kinds of music pitch were set based on the difference between the bamboo tubes.
Japanese: 律とは本来、音を定める竹の管であり、その長さの違いによって12の音の高さを定めた。
English: The following is the Ritsu of China that are placed in the order of lowest to highest, in comparison with the pitch name of western music (Kosho [the first note of the ancient chromatic scale]; the reference tone, is set at C).
Japanese: 中国の律を低いものから高いものへと並べ、西洋音楽の音名と対照すると以下のようになる（規準音である黄鐘をCとした場合。）
English: In Japan, D is called the ichikotsu (in Japan, the first note of the ancient chromatic scale [approx. D]), and the following is called the tangin (the second note of the ancient Japanese chromatic scale), hyojo (the third note of the ancient Japanese chromatic scale), shozetsu (the fourth note of the ancient Japanese chromatic scale), simomu (the fifth note of the ancient Japanese chromatic scale), sojo (the sixth note of the ancient chromatic scale), fusho (the seventh note of the ancient Japanese chromatic scale), oshiki (the eighth note of the ancient Japanese chromatic scale), rankei (the ninth note of the ancient Japanese chromatic scale), banshiki (the tenth note of the ancient Japanese chromatic scale), shinsen (the eleventh note of the ancient Japanese chromatic scale), and kamimu (the twelfth note of the ancient Japanese chromatic scale) in sequence.
Japanese: 日本では、Dを壱越（いちこつ）と呼び、以下断金（たんぎん）・平調（ひょうじょう）・勝絶（しょうぜつ）・下無（しもむ）・双調（そうじょう）・鳧鐘（ふしょう）・黄鐘（おうしき）・鸞鏡（らんけい）・盤渉（ばんしき）・神仙（しんせん）・上無（かみむ）と呼ぶ。
English: In Kabuki, Roppo was initially used when actors are entering the stage, but today, it is used when they are leaving by the passage through audience to stage.
Japanese: 歌舞伎では、当初は舞台への登場時に使われたが、現在では花道への引っ込みの場合に行われる。
English: There are many kinds such as Tobi roppo (flying exit) by Benkei in "Kanjincho" (a Kabuki play), Katate (one hand) roppo, Ryote (two hands) roppo, Kitsune (fox) roppo, Tanzen roppo (swaggering walk), and Keisei roppo (courtesan exit).
Japanese: 『勧進帳』の弁慶の飛び六方（とびろっぽう）や、片手六方、両手六方、狐六方、丹前六方、傾城六方など様々な種類がある。
English: The use of Mokugyo was once prohibited in Jodo sect, but afterward, it came to be used when sutra was chanted.
Japanese: 浄土宗では木魚の使用が禁じられた時期もあったが、その後念仏を唱えるときに使用されるようになった。
English: It is placed on a small zabuton (traditional Japanese cushions used to sit on the floor)-like table, and it sounds like 'poku poku' when it is beaten with a plectrum whose top is wrapped in cloth.
Japanese: 小さな座布団状の台の上に置かれ、先端を布で巻いたバチで叩くと、「ぽくぽく」という感じの音が鳴る。
English: It looks like a bell which is designed from a fish eating its own tail, or two fishes and a dragon competing for a gem.
Japanese: 自らの尾を食う魚や、2匹の魚や龍が珠を争う姿などを図案化した鈴のような形をしている。
English: It is cut from an opening; 'sound hole' of Mokugyo to make a hollow inside.
Japanese: 開口部である「響孔」にあたる部分から刃を入れ、内部に空洞が作られる。
English: Gyoban (wooden gong shaped like a fish) is a fish-shaped board as its name suggests, and it was beaten to give a signal to call people together.
Japanese: 魚板とはその名の通り魚の形をした板であり、たたき鳴らすことで人を集める合図とした。
English: It is believed that its fish-like shape was a symbol of devoting one to training since a fish never closes its eyes at any time during the day or night.
Japanese: 魚の形をしているのは、魚は日夜を問わず目を閉じないことから、修行に精進することの象徴であったためとされる。
English: It is also considered that beating the belly of fish helped one throw up his/her earthly desires.
Japanese: そして、魚の腹をたたくことで煩悩を吐き出させる、という意味合いが有ったともされる。
English: This may be extra information, but it is said that it made steady rhythms in order to keep people awake.
Japanese: そして雑学だが、眠気覚ましの為に一定ののリズムを刻んでいたとも言われる。
English: It is also called temple block, or Chinese block, and between two and five Mokugyo are often used together.
Japanese: テンプル・ブロック、チャイニーズ・ブロックともよばれ、2個から5個を一組に使用する場合が多い。
English: Compared with wood block, which has high tone with a hard and sharp tone color, the tone color of Mokugyo is soft and it sounds fertile.
Japanese: 高音で堅く鋭い音色のウッド・ブロックに比べると、木魚は柔らかく響きもふくよかである。
English: The plectrum installed in the end of an arm is moved due to the sensor fitted onto fingers, to which the movement of fingers is transmitted when fingers are snapped.
Japanese: 指パッチンをする事により指に取り付けられたセンサーを通し、伝わった動きでアームの先端に取り付けられたバチが動く。
English: The instrument called 'pachimoku,' which enables to play Mokugyo installed in the end, is used as well.
Japanese: 同じく先端に取り付けられた木魚を演奏出来る「パチモク」なる楽器を制作し、使用している。
English: In a song of Tatsuo KAMON, who was a disciple of Kuniaki SHIMIZU, Mokugyo is used for special effects.
Japanese: 清水国明の弟子でもあった嘉門達夫の歌曲にも効果音に木魚を使用した作品がある。
English: It sounds like Mokugyo is used in the intro of the song 'Yume ha hitori de mirumono ja nai' (a dream can't be dreamed alone) which is a single of Mariko KODA.
Japanese: 國府田マリ子のシングル「夢はひとりみるものじゃない」のイントロでも木魚の音が聞ける為、使用されている様である。
English: Though the Rikyu family had scattered in all directions after SEN no Rikyu killed himself by the sword, they were pardoned by Hideyoshi TOYOTOMI with the entreaty by Ieyasu TOKUGAWA, Toshiie MAEDA, and others, and thereby Doan SEN, the fugitive legitimate son of Rikyu, returned to Sakai City, Osaka Prefecture, and inherited the family estate (It is said that he was in hiding at the place of Arishige KANAMORI in Takayama City of Hida Province, or Awa Province.)
Japanese: 千利休自刃後利休の一族は各地に四散していたが、徳川家康や前田利家らの嘆願で豊臣秀吉に許され、逃亡していた（逃亡先は飛騨国高山市の金森可重説と阿波国説がある）利休の嫡男千道安が堺市へ帰郷し、家督を相続した。
English: Sakai-Senke had the blood relationship with Rikyu, however, ended because Doan had no legitimate son (although his daughter married to the son of Soan MOZUYA, the adopted son-in-law of Rikyu).
Japanese: しかし利休の血脈としての堺千家は、道安に嫡子がないなかったため断絶した（ただし道安の娘は利休の娘婿である万代屋宗安の息子に嫁いでいる）。
English: Jodaiyo is a general term for the "Japanese calligraphy school Japanese style" and "kana calligraphy," such as the three great brush traces and ancient calligraphy in the Heian period.
Japanese: 上代様（じょうだいよう）とは、平安時代の三跡の書や古筆などの日本の書流和様と仮名書の総称である。
English: Kanji (Chinese characters) was made into Japanese style by the three great brush traces in the mid Heian period, and at the same time "kana" was also created.
Japanese: 平安時代中期、三跡によって漢字が和様化され、同時期に仮名も誕生した。
English: After the Kamakura period, many calligraphy schools were formed centered around the Sesonji School, and the Japanese style began to be formalized with it.
Japanese: 鎌倉時代以降、世尊寺流を中心に数多くの書流が形成されるが、その書流化により和様が形式化されていく。
English: To distinguish the formalized Japanese style like this and the Japanese style in the completing period, the latter is especially called Jodaiyo, and Shoka (calligrapher) crying out for the restoration as the classics of the Japanese style, later appeared.
Japanese: このように形式化された和様と完成期の和様を区別するため、後者を特に上代様と呼び、和様の古典として後に復古を叫ぶ書家が現われる。
English: In the mid Heian period, the three, ONO no Tofu, FUJIWARA no Sukemasa, and FUJIWARA no Yukinari were called the three great brush traces, and they completed to make kanji into Japanese style by Tofu's style of dignified beauty, Sukemasa's style added sense and sharpness of the Japanese, and Yukinari's style of balance and mildness utilizing both features.
Japanese: 平安時代中期の小野道風・藤原佐理・藤原行成の3人は三跡と称され、貫禄のある艶麗な道風の書風に、日本的な感覚と鋭敏さを加えた佐理の書風を、行成が両者の長所をうまく生かし、かつ均整のとれた温和な書風として、漢字の和様化を完成させた。
English: The calligraphic style of the Sesonji family, with Yukinari as the first head, was called "Sesonji School" later, which was the origin of the Japanese calligraphic style.
Japanese: 行成を初代とする世尊寺家の書風は後に世尊寺流と称され、日本の書流の始まりとなる。
English: The ancient calligraphy were originally makimono (scroll) and jo (quire), and they were gradually cut off and stored, then each of them was called "a piece of excellent classical calligraphy."
Japanese: 古筆はもともと巻物や帖であったが、それを切断して収蔵するようになり、それぞれを古筆切（こひつぎれ）と呼ぶようになった。
English: The Imperial Family, from the late Kamakura period to the Northern and Southern Dynasties, produced Nosho of those Emperors Gofukakusa, Fushimi, and Gouda and others from both the Jimyoin line and Daikkakuji line, and the elegant Japanese style to return to the beauty of Jodaiyo continued, and then, it has been called "Japanese calligraphy Imperial-letter style."
Japanese: 鎌倉時代後半から南北朝にかけての天皇家では、持明院統・大覚寺統の両統から後深草天皇・伏見天皇・後宇多天皇などの能書が輩出され、上代様の美に帰ろうとする格調高い和様が続き、後世、日本の書流宸翰様と呼ばれている。
English: In the mid Edo period, Iehiro KONOE endeavored to restore Jodaiyo, and added a fresh breeze to the Japanese style which was gradually losing its class.
Japanese: 江戸時代中期、近衛家熙が上代様の復古に努め、低俗化しつつあった和様に清風を注いだ。
English: In the mid Meiji period, the restoration of the traditional cultural heritage was encouraged and that of Jodaiyo became active, centered around Shinai TADA and Shugyo OGUCHI.
Japanese: 明治時代中期、伝来の文化遺産の復古が叫ばれ、多田親愛・大口周魚を中心に上代様の復古が盛行した。
English: As a result, papers came to be used for purposes other than the original purpose, and Japanese paper, which was originally made from tow, came to be used for clothes.
Japanese: その結果、紙が本来の目的以外に利用されるようになり、もともと麻クズを原料にして製造されている和紙は衣料として利用されるようになった。
English: In fact, because it is strong and is conveniently carried, Samurai or haiku poet preferred to use it.
Japanese: しかし、丈夫で持ち運びに便利なため、武士や俳人などが好んで利用した。
English: On a sunny day, it was dried overnight, and was softened through the process of stepping or rubbing by hands to be made into Kamikoromo.
Japanese: 晴天の日に一夜晒し、足で踏んだり手で揉んだりして柔らかくして紙衣を製造した。