nntsuzu/KFTT huggingface dataset:
English: Paintings only in Sumi were produced since ancient times such as 'Sumiga-butsuzo' during the Nara Period, a treasure of Shosoin.
Japanese: 墨一色で表現した絵画は、日本では正倉院宝物の「墨画仏像」のような奈良時代の作例があり、古代から制作されていた。
English: However, in art history, 'Suigoku-ga' refers not only to paintings in one color with Sumi, but also in Chinese style that include contrasting density, bleeding, and thin spots, and as to the paintings in Japan, it usually refers to those produced after the Kamakura Period.
Japanese: しかし、美術史で「水墨画」という場合には、単に墨一色で描かれた絵画ということではなく、墨色の濃淡、にじみ、かすれ、などを表現の要素とした中国風の描法によるものを指し、日本の作品については、おおむね鎌倉時代以降のものを指すのが通常である。
English: Even colored paintings in Suiboku-ga style, mainly with Sumi, but with a few colors, are often included as 'Suiboku-ga.'
Japanese: 着彩画であっても、水墨画風の描法になり、墨が主、色が従のものは「水墨画」に含むことが多い。
English: At the beginning of the Heian Period, Mikkyo, Esoteric Buddhism, was brought to Japan and many 'Mikkyo-zuzo paintings' in Sumi, were produced in order to correctly pass down complicated forms such as a Buddha statue, Buddhist alter accessories, and Mandala, etc.
Japanese: 平安時代初期、密教の伝来とともに、仏像、仏具、曼荼羅等の複雑な形態を正しく伝承するために、墨一色で線描された「密教図像」が多数制作された。
English: Among Emakimono (picture scroll) there are pictures painted only in Sumi without any colors such as the "Makura no Soshi Emaki picture rolls."
Japanese: 絵巻物の中にも『枕草紙絵巻』のように彩色を用いず、墨の線のみで描かれたものがある。
English: However, these works painted with homogeneous Sumi lines with no thick or thin nor contrasting density, are usually called 'Hakubyo plain sketches' or 'Hakuga (painting drawn only by Japanese ink lines)' and are not included in the category of 'Suiboku-ga.'
Japanese: しかし、これらのような肥痩や濃淡のない均質な墨線で描かれた作品は「白描」（はくびょう）ないし「白画」といい、「水墨画」の範疇には含めないのが普通である。
English: The expression of Suiboku-ga in China had developed from the end of the Tang Period to the Godai-Jikkoku Period and Sung (Dynasty) (from the end of the 9th century to the 10th century).
Japanese: 中国における水墨画表現は唐時代末から、五代十国時代～宋(王朝)時代初め（9世紀末～10世紀）にかけて発達した。
English: While Suiboku-ga in China originated from pursuit of realism autonomously, Suiboku-ga in Japan began from the acceptance of Chinese paintings.
Japanese: 中国の水墨画が写実表現の追求から自発的に始まったものであるのに対し、日本の水墨画は中国画の受容から始まったものである。
English: It not necessarily clear when the acceptance and production of Suiboku-ga began in Japan.
Japanese: 日本における水墨画の受容と制作がいつ頃始まったかは必ずしも明確ではない。
English: In the Buddhist painting of the Takuma group around the end of the 12th century a touch of Suiboku-ga is already seen, but full-scale Suiboku-ga appeared around the end of the 13th century, which was almost four centuries later from the beginning of Suiboku-ga in China.
Japanese: すでに12世紀末頃の詫磨派の仏画に水墨画風の筆法が見られるが、本格的な水墨画作品が現れるのは13世紀末頃で、中国での水墨画発祥からは4世紀近くを経ていた。
English: Suiboku-ga from the end of the 13th century to around the 14th century in Japan is called 'Early Suiboku-ga' in the history of art.
Japanese: 13世紀末から14世紀頃までの日本の水墨画を美術史では「初期水墨画」と呼んでいる。
English: One of the reasons for the flourishing Suiboku-ga at this time is that Zen priests were actively interacting between Japan and China and new style paintings in Sung and Yuan were brought to Japan.
Japanese: 水墨画がこの頃盛んになった要因としては、日本と中国の間で禅僧の往来が盛んになり、宋・元の新様式の絵画が日本にもたらされたことが挙げられる。
English: Butsunichi-an Kobutsu mokuroku,' a catalog of public materials stored in Butsunichi-an at Kencho-ji Temple in Kamakura, which was a revised edition of the catalog made in 1320 around 1363, shows that many Chinese paintings were housed at Kencho-ji Temple at that time.
Japanese: 鎌倉の建長寺仏日庵の所蔵品目録である「仏日庵公物目録」（ぶつにちあんくもつもくろく）は元応2年（1320年）に作成された目録を貞治2年（1363年）頃に改訂したものであるが、これを見ると、当時の建長寺には多数の中国画が所蔵されていたことがわかる。
English: In the Zen sect which emphasized Shishi-sosho (generation-to-generation instruction from master to disciple) there was a demand for paintings such as Chinzo (portrait of Zen priest), which was given to a disciple in order to clarify his succession of the master's dharma, and Soshi-zo image including the founder of Zen sect, Dharma.
Japanese: 師資相承（師匠から弟子へ仏法を伝える）を重視する禅宗では、師匠の法を嗣いだことを証明するために弟子に与える頂相（ちんぞう、禅僧の肖像）や禅宗の始祖・達磨をはじめとする祖師像などの絵画作品の需要があった。
English: The subjects of Suiboku-ga at that time were mostly Doshaku-ga (portrait of person related to Buddhism or Taoism) and Shikunshi (orchid, bamboo, chrysanthemum and plum) as well as the above mentioned Chinzo and Soshi-zo images.
Japanese: この時期に制作された水墨画の画題としては、上述の頂相、祖師像のほか、道釈画（道教および仏教関連の人物画）、四君子（蘭、竹、菊、梅を指す）などが主なものである。
English: In addition, there is no direct relationship between Suiboku-ga and the dharma of the Zen sect, and it seems that Suiboku-ga was accepted as a new foreign culture as well as the Zen sect style architecture.
Japanese: なお、水墨画と禅宗の教義とには直接の関係はなく、水墨画は禅宗様の建築様式などと同様、外来の新しい文化として受容されたものと思われる。
English: Gachu-ga (a pictorial work that appear within a painting as part of the overall composition) expressed in Emakimono during the Kamakura Period shows that Suiboku-ga was adopted for Shoji-e (paintings on shoji paper sliding-door or Fusuma) in the temples other than those belonging to the Zen sect.
Japanese: 鎌倉時代の絵巻物に表現された画中画を見ると、当時、禅宗以外の寺院の障子絵などにも水墨画が用いられていたことがわかる。
English: The representative Suiboku painters in the 14th centuries were Kao, Mokuan, Tokusai TESSHU, etc.
Japanese: 14世紀の代表的な水墨画家としては、可翁、黙庵、鉄舟徳済などが挙げられる。
English: Kao's life is not known other than his signature of 'Kao' on his work, but there is a widely-accepted theory which considers him as the same person as Sonen KAO, a Zen priest who went to Yuan.
Japanese: 可翁については作品に「可翁」の印が残るのみで伝記は不明だが、元に渡航した禅僧の可翁宗然と同人とする説が有力である。
English: Daruma-zu (Kogaku-ji Temple, Yamanashi, national treasure) - painted by the touch of Suiboku-ga in spite of colors on clothes of Dharma.
Japanese: 達磨図（山梨・向嶽寺蔵、国宝）-達磨の衣などに彩色があるが、水墨画の筆法で描かれている。
English: Because there is a San (inscription on a painting) of Doryu RANKEI on the upper side of the painting, it seems to have been painted before 1278 when RANKEI died.
Japanese: 絵の上部に蘭渓道隆の賛があることから、蘭渓の没した1278年が制作年代の下限である。
English: The painting of Doryu RANKEI (Kencho-ji Temple, Kanagawa, national treasure) - painted with the same touch of Chinese paintings in spite of colors used.
Japanese: 蘭渓道隆像（神奈川・建長寺蔵、国宝）-着彩画であるが、中国画と同様の筆法で描かれている。
English: Kanzan was a legend, who was said to have lived on Mt. Tendai during Tang, and has been often used as a good subject for Suiboku-ga.
Japanese: 寒山は唐時代、天台山に住んでいたという伝説的な隠者で、水墨画の好画題とされる。
English: Partly because the Ashikaga Family gave sanctuary to the Zen sect, Zen culture and Gozan-bungaku (a Chinese literature of Zen temples) were in their prime and Shokoku-ji Temple in Kyoto, the temple of Ashikaga Family, produced many artist-monks such as Josetsu, Shubun and Sesshu.
Japanese: 足利家が禅宗を庇護したこともあり、禅文化や五山文学が栄え、足利家の寺である京都の相国寺からは如拙、周文、雪舟をはじめとする画僧を輩出した。
English: Besides, Mincho, an artist-monk of Tofuku-ji Temple produced works, from highly-colored Buddhist paintings to Suiboku-ga.
Japanese: また、東福寺の画僧・明兆（みんちょう）は、濃彩の仏画から水墨画まで幅広い作品を制作した。
English: The 8th Shogun, Yoshimasa ASHIKAGA, was not interested in politics, but focused on promoting culture; he collected and enjoyed things imported from China such as pictures and tea-related items eagerly.
Japanese: 8代将軍足利義政は政治を省みなかったが、文化の振興には力を入れ、唐物と呼ばれる中国舶載の書画、茶道具などを熱心に収集・鑑賞した。
English: What was much-prized in Japan at that time was the paintings from the Southern Sung Period of China, especially paintings by Kakei, Baen, Mokkei, Ryokai, and Gyokukan.
Japanese: 当時の日本で珍重されたのは、中国・南宋時代の画家の作品で、夏珪、馬遠、牧谿（もっけい）、梁楷、玉澗（ぎょくかん）らが特に珍重された。
English: In addition, according to research after the late 20th century, it is wrong to think that all paintings in Muromachi Period in Japan were Suiboku-ga, and the traditional Yamatoe painting on folding screen were also painted actively during this period.
Japanese: なお、室町時代の日本画壇が水墨画一色であったと考えるのは誤りで、この時代には伝統的な大和絵の屏風も盛んに描かれていたことが、20世紀後半以降の研究で明らかになっている。
English: While most Suiboku-ga in Japan, until the 14th century, were portraits such as Chinzo, Soshi-zu paintings, and Doshaku-ga, and Kacho-ga (painting of flowers and birds), in the 15th centuries full-scale Sansui-ga began to be painted in Japan.
Japanese: 14世紀までの日本水墨画が頂相、祖師図、道釈画などの人物画や花鳥画を中心としていたのに対し、15世紀には日本でも本格的な山水画が描かれるようになる。
English: Among the Sansui-ga of ink printing in Japan, the most earliest work seems to be "Heisa-rakugan-zu (painting of descending geese over a sandbar)" (personal possession) with a seal of 'Shitan.'
Japanese: 日本の水墨山水画のうち、もっとも初期の作とされるものは、「思堪」という印章のある『平沙落雁図』（個人蔵）である。
English: In this work there is a San of Issan-Ichinei, a Zen priest from China, so, it seems to have been painted before 1317, when he died.
Japanese: この作品には中国出身の禅僧・一山一寧の賛があり、彼の没年である1317年が制作年代の下限となる。
English: There is a red seal of 'Shitan' on the under side of picture, which seems to be the name of the painter, but his life is unknown.
Japanese: 画面下部に「思堪」の朱印があり、これが画家名と思われるが、その伝記等は不明である。
English: In this "Heisa-rakugan-zu" there is an amateurish part that shows the artist could not fully master the brushwork of Suiboku-ga, and it also suffers from perspective problems.
Japanese: この『平沙落雁図』にはまだ水墨画の画法をこなしきれていない稚拙な部分があり、遠近感の表現なども十分ではない。
English: In Ouei era (at the beginning of the 15th centuries), which was about one century later, a series of works called 'Shigajiku (hanging scroll with Chinese poetry)' had been produced.
Japanese: それから約1世紀を経た応永年間（15世紀初頭）に、「詩画軸」と称される一連の作品が制作される。
English: Shigajiku' shows the state of 'unity of poetry, brushstroke, and painting' and refers to a vertically long Kakejiku hanging scroll on which Suiboku-ga is painted on the under side and a Chinese-style poem with related subject matter of Suiboku-ga is drawn in the head margin.
Japanese: 「詩画軸」とは、「詩・書・画一体」の境地を表わしたもので、縦に長い掛軸の画面の下部に水墨画を描き、上部の余白に、画題に関連した漢詩を書いたものである。
English: The oldest datable Shigajiku seems to be "Saimon-Shingetsu-zu (picture of simple and quiet residence and new moon)" housed in Fujita Museum of Art, which was made in 1405.
Japanese: この種の詩画軸で年代のわかる最古のものとされるのが藤田美術館蔵の『柴門新月図』（さいもんしんげつず）で、応永12年（1405年）の作である。
English: The subject of this picture is a poem of Du Fu (Tu Fu) and it was written by 18 Zen priests after preface on the upper part of the picture, which took up more than double the space of the picture.
Japanese: この図は杜甫の詩を題材にしたもので、絵の上部には序文に続いて18名の禅僧が詩文を書いており、絵よりも書の占めるスペースが倍以上大きい。
English: The other representative works of Shigajiku made in the early part of the 15th centuries are "Kein-shochiku-zu (painting of a building in the valley)," "Chikusai Dokusho-zu (painting of Chikusai reading a book)," and "Suishoku-ranko-zu;" the painter of "Kein-shochiku-zu" is said to be Mincho and the one of "Chikusai Dokusho-zu," and "Suishoku-ranko-zu" are said to be Shubun, which have no clear evidence.
Japanese: 15世紀前半に制作された詩画軸の代表作としては他に『渓陰小築図』、『竹斎読書図』、『水色巒光図』（すいしょくらんこうず）などがあり、絵の筆者は『渓陰小築図』が明兆（みんちょう）、『竹斎読書図』、『水色巒光図』が周文との伝えもあるが、確証はない。
English: Many Shigajiku from this age are called 'Shosai-zu,' which the subject is the ideal status of bunjin, a person of letters, who lives in quietly in his study surrounded by hills and rivers.
Japanese: この時期の詩画軸は、「書斎図」と呼ばれる、山水に囲まれた静かな書斎で過ごす、文人の理想の境地を題材にしたものが多い。
English: A few works of Josetsu, an artist-monk of Shokoku-ji Temple, are known, including "Hyonen-zu" (in Taizo-in Temple, Kyoto).
Japanese: 相国寺の画僧・如拙は、『瓢鮎図』（ひょうねんず、京都・退蔵院蔵）をはじめ、若干の作品が知られる。
English: The achievements of Shubun, an artist-monk of Shokoku-ji Temple as well, as an Official painter of Shogunate, are known from documents and there are many works of Shigajiku and Senzui-byobu (folding screen with landscape picture) 'which are attributed to Shubun,' but there is no work showing clear evidence.
Japanese: やはり相国寺の画僧であった周文は、幕府の御用絵師としての事績が文献からは知られ、詩画軸、山水屏風などに「伝周文筆」とされる作品が多数残るが、確証のある作例は1点もない。
English: In the latter part of the 15th centuries, Sesshu (1420 - 1502/1506), one of the famous painters, not only as a Suiboku-ga painter, appeared.
Japanese: 15世紀の後半には、水墨画家としてのみならず、著名な画家の一人である雪舟（1420-1502/1506）が登場する。
English: He went to Ming (China) around the beginning of the Onin War (1467-1477) and stayed there for three years.
Japanese: 応仁の乱（1467－1477年）の始まりと前後して中国・明に渡航、足掛け3年滞在して帰国した。
English: After he came back to Japan, he devoted his visits to local provinces such as Yamaguchi and Oita and left works there in the 80's.
Japanese: 帰国後は山口、大分など、もっぱら地方を遍歴して制作し、80歳代まで作品を残している。
English: Sesshu wrote, 'I went to Ming in order to learn painting, but there was no teacher I sought' as Jisan (inscription on his own painting) on "Sansui-zu (landscape picture)" (commonly called 'Haboku-sansui-zu') which was given to his disciple, Soen, at the age of 76 in 1495, and he praised the achievements on the painting of his senior, Josetsu and Shubun.
Japanese: 雪舟は明応4年（1495年）、76歳の時、弟子の宗淵に与えた作品『山水図』（通称「破墨山水図」）の自賛に、「自分は絵を学ぶために明に渡航したが、そこには求める師はいなかった」と記し、先輩に当たる如拙や周文の画業をたたえている。
English: This Jisan was the oldest among what Japanese painters have described about their works, and reflected his self-pride as Japanese painter.
Japanese: この自賛は、日本の画家が自らの画業について語ったものとしては最古のものであり、日本人画家としての自負がうかがえる。
English: Sesshu produced his own Suiboku-ga based upon actual landscapes in Japan such as "Ama-no-Hashidate-zu (painting of Ama-no-Hashidate)" digesting the influence of Chinese paintings.
Japanese: 雪舟は中国絵画の影響を消化しつつ『天橋立図』のような日本の実景を題材にした独自の水墨画を制作した。
English: In addition, he cultivated many disciples, among whom Shugetsu (from Satsuma Province) and Soen (an artist-monk in Engaku-ji Temple, Kamakura) who went back to their home provinces and flourished.
Japanese: また、多くの弟子を育成し、彼らの中には秋月（薩摩出身）、宗淵（鎌倉円覚寺の画僧）など、それぞれの出身地に帰って活躍した者もいた。
English: In the Muromachi Period, many painters appeared in local regions, many of whom originated from a samurai family.
Japanese: 室町時代には、地方にも多くの画人が現われ、その多くは武家の出身であった。
English: The representative painter was Sesson, a painter with Samurai origin in Ota, Hitachi Province (Hitachi-ota City, Ibaraki Prefecture).
Japanese: その代表的な存在が、常陸国太田（茨城県常陸太田市）の武家出身の画家・雪村であった。
English: Later, Sesson became an artist-monk and continued to produce paintings until the 80's in the Kanto and Aizu Regions, many of which were full of spirit from Samurai origin.
Japanese: 雪村は後に出家して画僧となり、関東地方と会津地方で80歳代まで制作を続けたが、その作品には武家の出身らしい気迫のこもったものが多い。
English: Dasoku SOGA, Shokei and Zokyu GAKUO are famous but their lives are less-obvious.
Japanese: 著名な者としては、曾我蛇足、松谿、岳翁蔵丘らがいるが、これらの人物の伝記はあまり明らかでない。
English: The Ami family (Noami, Geiami, and Soami) of 'Doboshu' (a kind of advisor on arts, as good consultant of things imported from China), who served the Ashikaga Shogun Family, also left the works of Suiboku-ga.
Japanese: 足利将軍家に仕えた「同朋衆」（唐物の目利きなど、芸術顧問的な仕事をしていた）の阿弥派一族（能阿弥、芸阿弥、相阿弥）も水墨の作品を残している。
English: Kitayama culture is the culture at the beginning of Muromachi Period, represented by the Kitayama mountain villa of Yoshimitsu ASHIKAGA, the third shogun (1358-1408) from the end of 14th centuries to the early part of the 15th centuries.
Japanese: 北山文化（きたやまぶんか）とは、室町時代初期の文化で、三代将軍足利義満（1358年～1408年）の北山山荘に代表され、14世紀末～15世紀前半までをさす。
English: However, it is said that in today's view of history the general term is to include it in 'Muromachi culture' together with Higashiyama culture.
Japanese: ただし、今日の歴史学では東山文化と合わせて「室町文化」と呼ぶのが一般的だという。
English: Characteristically it is a fusion of the traditional culture of nobility and the new-risen culture of the samurai class through the upheaval in the period of the Northern and Southern Courts (Japan), and it is also influenced by continental culture through Kango trade with the Ming (dynasty) and Zen sect (Buddhism).
Japanese: 南北朝時代(日本)の動乱を経て、それまで伝統的であった公家文化と、新興の武家文化の融合が特色で、明との勘合貿易、禅宗を通じて大陸文化の影響も受けている。
English: This is an example of representative architecture from the Kitayama culture, built in the Kitayama mountain villa (the Kitayama mountain villa was named Rokuon-ji Temple after Yoshimitsu's posthumous Buddhist name after his death).
Japanese: 北山文化を代表するもので足利義満が北山山荘に造営した（北山山荘は義満死後その法名をとって鹿苑寺となる）。
English: Its first layer was Amitabha hall built by Shinden-zukuri architecture, the style of the nobility culture, the second layer was built in a style of housing (a popular belief says it is a Buke-zukuri architecture - architecture representative of a samurai's residence), and the third layer was built in the style of a Zen temple building of a Buddhist image in which a bone of Buddha was placed.
Japanese: 一層が公家風の寝殿造で阿弥陀堂、二層が住宅風（俗説では武家造）、三層が禅宗様の仏殿風で仏舎利を置いた。
English: Yoshimoto NIJO: edited 'Tsukubashu' (1356) and established a style of a chorenga (a longer linked poem) based on 100 phrases in 'Oanshinshiki' (1372).
Japanese: 二条良基：「筑玖波集」の撰（1356年）、また「応安新式」（1372年）では100句を基準とする長連歌の形式を定めた。
English: It is said that it was created by fusing cultures of the samurai class, the nobility, and Zen priests around the Higashiyama mountain villa in Kyoto which was built by Yoshimasa ASHIKAGA, the eighth shogun (1436-1490).
Japanese: 八代将軍足利義政（1436年-1490年）が築いた京都の東山山荘を中心に、武家、公家、禅僧らの文化が融合して生まれたとされる。
English: After the Onin War (1467), it was the age of the civil war, but also the age when various arts such as Noh play, tea ceremony, the art of flower arrangement, a garden (landscape gardening), architecture, and renga (a linked poem) were in full bloom, and these arts gradually spread among common people creating many varieties of Japanese culture which have continued until now.
Japanese: 応仁の乱（1467年）以降、戦乱に明け暮れる世の中になったが、一方では能、茶道、華道、庭園、建築、連歌など多様な芸術が花開いた時代で、それらは次第に庶民にも浸透し、今日まで続く日本的な文化を数多く生み出した。
English: In addition, since Kyoto (the capital) suffered from the fires of war and cultured persons and intellectuals escaped to stay with the local shugo daimyo (Japanese territorial lord), many cultures spread to the country as well.
Japanese: また、京が戦火に見舞われたことで文化人・知識人が地方の守護大名のもとへ身を寄せたため、地方へも伝播した。
English: As opposed to the aristocratic and gorgeous Kitayama culture, it is regarded as a culture based on the aesthetic feeling which leads to mysterious profundity, wabi (a clear and silent taste found in simplicity) and quiet simplicity.
Japanese: 貴族的・華麗な足利義満の北山文化に対して、幽玄、侘び・寂びに通じる美意識に支えられていると評される。
English: Its first layer is built by Shoin-zukuri architecture (the shoin style of traditional Japanese residential architecture) in a style of housing and the second layer is built in the style of a Zen temple building of a Buddhist image (Karayo (Chinese style)).
Japanese: 一層は住宅風の書院造、二層は禅宗様（唐様）の仏殿という構成になっている。
English: A four-and-a-half-mat Japanese room (Dojinsai) is a study of Yoshimasa and is famous for as an example of architecture of early Shoin-zukuri.
Japanese: 四畳半の部屋（同仁斎）は義政の書斎で初期の書院造建築として知られる。
English: Juko MURATA (1422-1502): considered to have learned from Sojun IKKYU and served Yoshimasa.
Japanese: 村田珠光（1422年-1502年）：一休宗純に師事、義政に仕えたとされる。
English: In history the term 'Higashiyama Period' has been used since the beginning of Showa (Rinpu SASAKAWA, 'the culture in the Higashiyama era' in 1928, and so on) and the term, 'Higashiyama culture' was created in the sense of culture in the Higashiyama era.
Japanese: 歴史学で昭和初期から「東山時代」という用語が使われるようになり（笹川臨風「東山時代の文化」1928年、など）、東山時代の文化の意味で「東山文化」という用語が生まれた。
English: It seems that this was because the situation in the Muromachi Period could be discussed outright since the Southern Court was considered to be legitimate at that time.
Japanese: 当時は南朝が正統とされていたことから、室町時代のことが中々正面切って論じられなかったという背景もあったようである。
English: However, today it is said that both cultures are generally discussed together as 'Muromachi culture' according to the following reasons; when Higashiyama culture began and ended is not clear, there is criticism that the era of Yoshimochi and Yoshinori are ignored and both have many points in common such as the influence of the Zen sect and the fusion of the culture of the nobility and the culture of the samurai class.
Japanese: しかし、東山文化がいつ始まりいつまで続いたか区分が明確でないことや、義持・義教の時代が無視されてしまうことへの批判、禅宗の影響や公家文化と武家文化の融合など共通性が多いことから、今日の歴史学では両者を合わせて「室町文化」として論じるのが一般的であるという。
English: (Reference: 'Nihon no Jidaishi (History of Ages of Japan) No.11 The age of revolts' edited by Masaharu EBARA, published by Yoshikawakobunkan in 2003)
Japanese: （参考：榎原雅治編「日本の時代史11一揆の時代」吉川弘文館、2003年）
English: In the technique, pictures, patterns, or letters are drawn with urushi (a Japanese lacquer) on the surface of lacquerware, and metal powder, such as of gold or silver, is sprinkled before the urushi dries to secure the design on the lacquer surface.
Japanese: 漆器の表面に漆で絵や文様、文字などを描き、それが乾かないうちに金や銀などの金属粉を「蒔く」ことで器面に定着させる技法である。
English: Makie technique is distinguished from other lacquerware decorating techniques including: hyomon (also referred as heidatsu) technique, whereby a thin metal sheet is placed on the surface; the chinkin technique, whereby the lacquerware surface is carved and gold and silver is inlayed in the depression; and the 'raden' technique, whereby green turban shell, abalone or other type of shell is cut out into decorative pieces, and glued or inlayed into the lacquered material.
Japanese: 金属の薄板を定着させる平文（ひょうもん）（または平脱/へいだつ）や漆器表面に溝を彫って金銀を埋め込む沈金、夜光貝、アワビ貝などを文様の形に切り透かしたものを貼ったり埋め込んだりする「螺鈿」（らでん）とは区別される。
English: While 'hyomon' and 'raden' are originally Chinese techniques, the makie technique is regarded as a Japanese lacquer art only seen in Japan with the earliest piece of work being Kingindenso no karatachi (commonly called 'makkinru no tachi,' a sword made by the ancient lacquer-decorating technique with sprinkled gold powder), which is a Shosoin treasure.
Japanese: 「平文」や「螺鈿」が中国起源の技法であるのに対し、蒔絵はその初例を正倉院宝物の金銀鈿荘唐大刀（きんぎんでんかざりのからたち、通称「末金鏤の大刀」（まっきんるのたち））とされており、海外に類例のない日本独自の漆芸技法とされている。
English: After sprinkling gold or silver powder, lacquer is applied over the entire surface of the piece; when it is dried, the lacquer layer is polished down with a piece of charcoal to reveal the pattern of makie layer.
Japanese: 金粉や銀粉を蒔いた後に、器面全体に漆を塗りかぶせ、乾燥後に木炭で漆を研磨して下の蒔絵層を出す技法。
English: The makkinru technique, used in the Shosoin treasure Kingindenso no karatachi, is a type of togidashi makie technique.
Japanese: 正倉院宝物の金銀鈿荘唐大刀に見られる「末金鏤」という技法も研出蒔絵の一種である。
English: Early on, up to the Heian period, when the gold and silver pulverizing technology was still in a primitive stage and incapable of producing fine powder, this was the standard technique.
Japanese: 金銀粉の精製技術が未発達で、粉の粒子が荒かった平安時代までは、この技法が蒔絵の主流であった。
English: After the motif is drawn with lacquer and gold and silver powder is sprinkled, applying suri-urushi process (applying lacquer only over the motif) and is then polished.
Japanese: 漆で文様を描き、金銀粉を蒔いた後に、文様の部分だけに摺り漆をして研磨したもの。
English: This technique emerged in the late Heian period; kodaiji makie (ultra-refined style of makie) in the Momoyama period is based on the hira makie technique.
Japanese: この技法は平安時代後期から現われ、桃山時代の高台寺蒔絵などは平蒔絵が主たる技法となっている。
English: After part of the motif is formed into a relief, lacquer is coated over the entire piece, and is then polishing with charcoal.
Japanese: 文様の一部を浮き彫り状に盛り上げた上で、器面全体に漆を塗りかぶせ、木炭で研ぎ出す。
English: Nuka-zuke (or nukamiso-zuke), which is also called dobu-zuke or dobo-zuke, is one type of representative pickles in Japan, made by pickling vegetables in nuka-doko (a rice bran bed made by lactic acid fermentation).
Japanese: 糠漬け（ぬかづけ、糠味噌漬け（ぬかみそづけ）とも）とはどぶ漬け、どぼ漬けとも呼ばれ、糠を乳酸発酵させて作った糠床（ぬかどこ）の中に野菜を漬けこんで作る日本を代表する漬物の一つである。
English: In general, juicy vegetables such as cucumber, eggplant and Japanese white radish are often pickled, but others such as meet, fish, boiled eggs, and konnyaku (a gelatinous food made from devil's-tongue starch) are also pickled.
Japanese: 一般に胡瓜・茄子・大根といった水分が多い野菜を漬けこむことが多いが、肉、魚、ゆで卵、蒟蒻などを漬けてもよい。
English: The one which is pickled during a short time is called asa-zuke (young pickles) or ichiya-zuke (overnight pickles), while the one which is pickled over a longer period is called furu-zuke (old pickles) or hine-zuke (matured pickles).
Japanese: あまり漬かっていないものは浅漬け、一夜漬けと呼ばれ、漬かりすぎたものは古漬け、ひね漬けなどと呼ばれる。
English: In the past, each household had nuka-doko and made nuka-zuke, but recently most of the people buy it at the supermarket to avoid the pain and a smell of rice bran bed.
Japanese: 以前はどこの家庭にも糠床があり糠漬けを作っていたが、最近は糠床の手入れの面倒さや臭いの問題からスーパーマーケット等で買ってすませる人がほとんどである。
English: However, nuka-zuke is a popular food even today, so many people consider the breakfast of boiled rice, miso soup and nuka-zuke as an image originating in the Japanese mind.
Japanese: しかしながら糠漬けは現代でもポピュラーな食べ物であり、ご飯、味噌汁、糠漬けの朝食を日本人の原風景の一つと考える人も多い。
English: It is said that originally pickles were made using grain and soybean ground by a millstone as a bed, which was called suzuhori in Nara Period.
Japanese: もともとは奈良時代に須須保利（すずほり）という漬床として臼で挽いた穀類と大豆を使った漬物があったという。