nntsuzu/KFTT huggingface dataset:
English: Although there is a local regulation, there are no government regulations on expression (Fusanosuke NATSUME says "The restrictions may be loosest in the world").
Japanese: 地方条例はあっても、政府による表現規制がない（夏目房之介は「世界一ゆるいのではないか」と語る）。
English: The word 'manga' literally means 'drawing a picture at will.'
Japanese: 「漫画」という言葉は、字義的には「気の向くままに絵を描く」という意味である。
English: Although the word 'manga' was created in Japan, it is not known exactly how.
Japanese: 「漫画」という用語は日本で生まれたが、どのような経緯で生まれたかはよくわかっていない。
English: There is a theory that a kango (words of Chinese origin) 'manpitsu (漫筆)' meaning an essay which is 'writing (a sentence) at will' became 'manpitsu-ga (a picture painted at will)', then 'manga', also there is another theory that a type of spoonbill called 'mankaku (漫画)' which 'looks for various things' was the origin.
Japanese: 「気の向くままに（文章を）書く」という随筆を意味する漢語「漫筆」が「漫筆画」を経て「漫画」になったとする説と、「漫画（まんかく）」という名のヘラサギの一種から「種々の事物を漁る」意になったとする説がある。
English: A book called "Red Comic Books: The Origins of Modern Japanese Manga" points out that 'mankaku' has no meaning of caricatures and supports the former theory.
Japanese: 『日本近代漫画の誕生』は、「まんかく」が戯画の意味を持たないことを指摘し、前者を支持している。
English: In the preface of a picture book "Shiishikoka (四時交加) " which was published in 1798, Kyoden SANTO uses a word 'manga' as the meaning of 'drawing (a picture) at will.'
Japanese: 1798年に発行された絵本『四時交加』の序文では、山東京伝により「気の向くままに（絵を）描く」という意味の言葉として、用語「漫画」が使用されている。
English: The word 'manga' was spread as a word meaning a sketch like a caricature by Hokusai Manga (Hokusai's sketches) which was painted by Hokusai KATSUSHIKA in 1814.
Japanese: 1814年の葛飾北斎の北斎漫画により、「漫画」は戯画風のスケッチを指す意味の言葉として広まった。
English: Though "Hokusai Manga" was a etehon (art manuals) (book of sketches), there were caricatures and cartoons.
Japanese: 『北斎漫画』は絵手本（スケッチ画集）であったが、戯画や風刺画も載っていた。
English: As shown by "Hokusai Manga", the word 'manga' has existed since the Edo period, but the 'manga' carried a strong sense of 'a picture like a caricature' and 'an essay with pictures.'
Japanese: 『北斎漫画』が示すとおり、江戸時代から「漫画」という言葉自体は存在したものの、この「漫画」は「戯画的な絵」「絵による随筆」という意味合いが強かった。
English: Hokusai Manga became a long-selling book which was published after World War II and had been read by a wide range of people.
Japanese: 北斎漫画は第二次世界大戦後も版行されるロングセラーとなり、幅広い層に愛読された。
English: Under the influence of this fact, some books containing several pictures like caricatures are titled 'something manga' such as "Korin Manga" (Korin's sketches) (1817) written by Korin OGATA.
Japanese: この影響を受け、尾形光琳の『光琳漫画』（1817年）などいくつもの戯画風の絵を載せた書籍が「-漫画」というタイトルになっている。
English: The tradition of 'something manga' such as "Yoshitoshi Manga" (Yoshitoshi's sketches) (1885) written by Yoshitoshi TSUKIOKA continued into the Meiji period.
Japanese: 明治時代に入っても月岡芳年の『芳年漫画』（1885年）など、「-漫画」の伝統は失われていない。
English: However, these were more like 'manpitsu-ga' and it did not have the same meaning as 'manga' in the modern language.
Japanese: ただしこれらはまだ「漫筆画」の意味に近く、現代語の「漫画」と同じ意味とは言えない。
English: It was the Showa period that the word 'manga' started to be used as the daily language and it had been called such as 'ponchi', 'tobae', 'kyoga' and 'caricature' before that.
Japanese: 日常語として「漫画」という言葉が使われ始めたのは昭和時代からで、それまでは「ポンチ」や「鳥羽絵」、「狂画」、「戯画」などと呼ばれていた。
English: It was Ippyo IMAIZUMI who lived in the Meiji period and started to use the word 'manga' in the same meaning as people nowadays use it.
Japanese: 現代人と同じ意味で「漫画」という語を使い始めたのは明治時代の今泉一瓢（いまいずみいっぴょう）である。
English: Ippyo published "Ippyo manga shu (Ippyo's collection of manga illustrations), first edition" which mainly contained caricatures on October 31, 1895 and used the word 'manga' as a translation of caricature or cartoon in the book.
Japanese: 一瓢は1895年10月31日、風刺画を中心とする『一瓢漫画集初編』を出版、caricatureまたはcartoonの訳語として「漫画」を用いている。
English: Rakuten KITAZAWA was the first person who used the word 'manga' as a translation of cartoon and comic that are imported into Japan during the Meiji period and this meaning of 'manga' became established as manga in the modern period.
Japanese: なお、明治期に日本に入ってきたcartoonとcomicの訳語として「漫画」という言葉を使用したのは、北澤楽天が最初であり、以後この意味での「漫画」が現代における漫画という語へ定着するようになった。
English: The word 'manga' was exported to China during the Taisho period and the spelling of manga became one of the popular Japanese used in European countries.
Japanese: 漫画という語は大正時代に中国に輸出され、またmangaのつづりでヨーロッパ語圏でも通じる日本語の一つになった。
English: It is said that the oldest 'manga' in the sense of comical pictures in Japan was an emakimono (an illustrated scroll) called "Choju Jinbutsu Giga (caricatures of frolicking birds, animals and humans)" painted in the Heian period.
Japanese: 滑稽な絵という意味での「漫画」は、平安時代の絵巻物・『鳥獣人物戯画（鳥獣戯画）』が日本最古であると言われている。
English: Emakimono also shows expressions like comics and has some elements which are similar to modern comics.
Japanese: 他にも絵巻物には漫画的な表現がみられ、現代の漫画に似た要素を含んでいる。
English: Then, caricatures and ukiyoe (Japanese woodblock prints) grew out in the Edo period against the backdrop of the development of printing techniques and the flowering of townsmen culture.
Japanese: その後印刷技術の発達と町人文化の興隆を背景に、江戸時代に戯画や浮世絵が生まれた。
English: A best-selling book at the end of Edo period "Hokusai Manga" was particularly famous and it contained the old form of 'manpu' such as a line depicting nasal breathing and caricatures of court nobles and samurai.
Japanese: 幕末のベストセラー、『北斎漫画』は特に有名で、この中には鼻息を表す線が描かれるなど、「漫符」の古い形が既に見られるほか、公家や武士を諷刺する絵が含まれている。
English: These caricatures grew out because of that period and led to latter-day cartoons, but it is difficult to trace the beginning of 'criticism of authority with pictures' due to a lack of information.
Japanese: こうした諷刺画はこの時代だからこそ生まれ、後の風刺漫画につながっていくが、「絵を用いた権力批判」の始まりをたどるのは資料不足により難しい。
English: In 1862, a comic magazine "The Japan Punch" was published in Yokohama City's Enclave for foreign residents and gained popularity.
Japanese: 1862年には、漫画雑誌の『ジャパン・パンチ』が横浜市居留地で発行され、人気を博した。
English: Due to this, Japanese newspapers also started to place comics and the word 'ponchi' meaning the comics which deal with topical themes became a vogue word.
Japanese: この影響で日本の新聞も漫画を掲載するようになり、時事的テーマを扱う漫画を指す「ポンチ」という言葉が流行語となった。
English: Western satire magazines became available afterJapan marked the end of a long period of isolation and Japanese comics developed by imitating them.
Japanese: 開国したことで欧米の諷刺雑誌を入手できるようになり、これらを模倣することで日本の漫画は発展していった。
English: In 1877, a comic magazine representing the Meiji period "Marumaru Chinbun" was first launched.
Japanese: 1877年には明治を代表する漫画誌『團團珍聞（まるまるちんぶん）』が創刊された。
English: Japan's first serial comic was "A Tall Man and a Short Man Make a Trip to Enoshima and Kamakura" (1896) by Beisaku TAGUCHI serialized in "Marumaru Chinbun" and it was the first comic that describes a coherent story with specific characters.
Japanese: 日本初の連載漫画は、『團團珍聞』に連載された田口米作の『江の島鎌倉長短旅行』（1896年）で、特定のキャラクターによる一貫したストーリーを描いた最初の漫画でもあった。
English: Rakuten KITAZAWA showed great dedication to the development of Japanese cartoons by launching "Tokyo Puck" in 1905 and so on.
Japanese: 北澤楽天は1905年に『東京パック』を創刊するなど、日本における風刺漫画の発展に大きく貢献した。
English: Also, "Tonda Haneko (Miss Haneko Tonda)" serialized in "Jiji Manga" by Rakuten from 1928 was Japan's first serial comic starring a girl and it was a pioneering girls' comic.
Japanese: また楽天が1928年から『時事漫画』で連載した『とんだはね子』は、日本で最初の少女を主人公とした連載漫画であり、少女漫画の先駆的作品である。
English: Ippei OKAMOTO established the first cartoonist organization in Japan called Tokyo manga kai (latter-day Nihon manga kai) in 1915.
Japanese: 岡本一平は、1915年に日本初の漫画家団体である東京漫画会（後の日本漫画会）を設立した。
English: Okamoto serialized a manga prose such as "Hito no Issho (A life of a man)"(1921) in Tokyo Asahi Shinbun and constructed a prototype of Japanese story manga later.
Japanese: 岡本は東京朝日新聞において『人の一生』（1921年）などの漫画漫文を連載し、後の日本におけるストーリー漫画の原型を作り上げた。
English: Okamoto's activity played a large role in the process that comics which were considered to be solely as a means of satire became recognized as popular entertainment.
Japanese: それまではもっぱら風刺の手段と見なされていた漫画が、大衆娯楽として認識されていく過程において、岡本の活動は大きな役割を果たした。
English: Since the publication of "Adventures of Sho-chan" written by Nobutsune ODA and illustrated by Katsuichi KABASHIMA and "Nonki na Tosan (Easygoing Daddy)" written by Yutaka ASO in 1923, the modern expressions such as layout of frames and speech balloons started to have popular usage.
Japanese: 1923年に執筆された織田信恒作・樺島勝一画の『正チャンの冒険』や、麻生豊の『ノンキナトウサン』以降から、現代の漫画に通じるコマ割りやフキダシといった表現手法が定着し始める。
English: In 1932, Shin Manga ha Shudan (New Manga Group) was formed by young cartoonists in their 20s including Hidezo KONDO, Ryuichi YOKOYAMA and Yukio SUGIURA.
Japanese: 1932年には、近藤日出造、横山隆一、杉浦幸雄ら二十代の若手漫画家により、新漫画派集団が結成された。
English: The members of Shin Manga ha Shudan were characterized by drawing not with a brush but with a pen and their style was mainly Japan's own nonsense comics which was inspired by western nonsense comics.
Japanese: 新漫画派集団の作家達は毛筆ではなくペンによる描画をその特徴とし、欧米のナンセンス漫画に触発された日本独自のナンセンス漫画を主要な作風としていた。
English: Shin Manga ha Shudan achieved so much popularity as to surpass Rakuten, Ippei and their disciples and the members of Shin Manga ha Shudan became core cartoonists in the comic world post World War II.
Japanese: 新漫画派集団は楽天や一平、その弟子達を凌駕する人気を獲得し、新漫画派集団の作家達は、後に第二次世界大戦後の漫画界の中核を成す存在となっていった。
English: In the 1930s, popular children's comics such as "Norakuro", "Tanku Tankuro" and "The Adventures of Dankichi " which were serialized in "Shonen Club (Boys' club)" published by Kodansha Ltd. and other children's magazines became bestselling books.
Japanese: 1930年代には、講談社の『少年倶楽部』他の子供雑誌で連載された『のらくろ』『タンクタンクロー』『冒険ダン吉』などの子供向けの人気漫画が単行本化され、ベストセラーとなった。
English: Aside from these mainstream comics which were serialized in newspapers and magazines, there were thin and two or three colored comic books sold at mom-and-pop candy stores and toy stores.
Japanese: これらの新聞や雑誌で連載された主流漫画とは別に、駄菓子屋やおもちゃ屋の店頭で販売される2-3色刷りの薄い漫画本が存在した。
English: These cheap and rough comic books were called akahon (a book for boys) due to heavy use of red ink.
Japanese: これらの安価で粗雑な漫画本は赤インクの多用から、赤本(少年向け本)と呼ばれた。
English: For these akahon, cartoonists such as Masao HAGA (芳賀まさを) and Gajo SAKAMOTO, in the early years, produced the manuscript.
Japanese: これらの赤本では、初期の芳賀まさをや阪本牙城といった作家が原稿を描いていた。
English: When Japan joined World War II, Japanese comic industry was temporarily forced to decline due to the regulation by intelligence bureau and lack of paper.
Japanese: 日本が第二次世界大戦に参戦すると、情報局による規制や用紙不足により、日本の漫画産業は一時期衰退を余儀なくされた。
English: After World War II, Osamu TEZUKA who was inspired by Walt Disney and Fleischer Studios, Inc. established the expression technique in "Shin Takarazima" combining cinematic composition with symbolism specific to the comic, and his technique became the de facto standard of Japanese comics.
Japanese: 第二次世界大戦後には、ウォルト・ディズニーやフライシャー・スタジオの影響を受けた手塚治虫が映画的な構図と漫画固有の記号性を合わせ持った表現技法を「新宝島」で定着させ、手塚の手法は日本漫画のデファクト・スタンダードとなった。
English: After the war, rental comic became established as one of the inexpensive supply systems of comics and it was a mainstream until the 1950s.
Japanese: 戦後は貸本漫画が安価な漫画供給形態の1つとして定着し、1950年代までは主流となっていた。
English: In 1595, the first ever weekly comic magazine "Weekly Shonen Sunday" and "Weekly Shonen Magazine" were launched, followed by "Weekly Shonen King" in 1963, "Weekly Shonen Jump" in 1968 and "Weekly Shonen Champion" in 1969, then it entered the five boys' magazines period.
Japanese: 1959年、史上初の週刊漫画雑誌週刊少年サンデー・週刊少年マガジンがそれぞれ創刊され、1963年には『少年キング』が、1968年には『週刊少年ジャンプ』、1969年に『週刊少年チャンピオン』が追って創刊、少年誌5大誌時代に突入。
English: Around that time, a lot of new comic magazines were launched and the rental comic system rapidly declined.
Japanese: このころになると漫画雑誌の創刊が相次ぎ、貸本漫画は急速に衰退していくこととなる。
English: In the 1950s, many cartoonists who were inspired by the story manga developed by Osamu TEZUKA appeared one after another and in 1960s, the works of Shotaro ISHINOMORI, Fujio AKATSUKA and Fujio FUJIKO became big hits.
Japanese: 1950年代、手塚治虫が開拓したストーリー漫画に触発されて多くの漫画家が続々と現れ、1960年代は石ノ森章太郎、赤塚不二夫、藤子不二雄らの作品が大ヒットした。
English: Also, the works for adults like gekiga (graphic novel) which was created by Takao SAITO appeared as a type of comics which had been considered as reading for children and it led to the expansion of the market.
Japanese: また、さいとう・たかをの登場により、これまで子供の読み物とされてきた漫画に劇画など大人向けの作品が登場し、購買層の拡大につながった。
English: Japanese comic started to be exported around the 1980s and it gained new fans.
Japanese: 1980年代ごろから日本漫画が海外へ輸出されるようになり、新たなファンを獲得していった。
English: The fact that Japanese animations had already been broadcasted abroad and gained high popularity made a major contribution to this.
Japanese: これには、以前から日本のアニメが海外で放送されて高い人気を得ていたことが大きく貢献している。
English: In addition, major publishing companies which didn't have a comic department such as Kadokawa Group Publishing Co., Ltd., Tokuma Shoten Publishing Co., Ltd. and Gakushu Kenkyusha also entered into the comic market at the end of the Showa period (from the end of the 70s to the 80s), then so called 'geeky' comic books and comic magazines appeared.
Japanese: また、大手にも関わらず漫画部門を持たなかった角川書店・徳間書店・学習研究社なども昭和末期（70年代末期から80年代）に参入、いわゆる｢マニア向け｣の漫画及び漫画誌が登場し始めた。
English: Genre of comics expanded in keeping with changes of the times and the number of magazine publication rose drastically, also comic magazines in complex with information magazines appeared.
Japanese: 時代の変化に合わせて取り扱う漫画のジャンルも拡大し、発刊される雑誌も大幅に増え、情報雑誌と複合した漫画雑誌も生まれてきた。
English: In the early 90s, Enix Corporation and MediaWorks, Inc. entered into the market and they created different works than major magazines.
Japanese: 90年代初頭にはエニックスやメディアワークスなどが参入、メジャー誌とは一味変わった作品群を作っていった。
English: Since the 2000s, the culture of dojinshi (publication aimed at a particular hobby group), derivative work, anthology and web comic (a comic published on the Internet) developed further and the number of comic magazines continued to increase.
Japanese: 2000年代以降は同人誌や2次創作、アンソロジー、ウェブコミック（ウェブ漫画、インターネット上で公開する漫画）の文化も更に発展し、更に漫画誌の数も増え続けた。
English: On the one hand, the sales of boys' magazines and girls' magazines have been decreasing as a result of the increasing number of children who are not interested in or do not read comics due to the aliterates in earlier age group and other entertainments such as portable game machines and mobile phones and the low birthrate, then the number of defunct magazines is increasing.
Japanese: 一方で、低年齢層における活字離れや携帯ゲーム機・携帯電話の普及など、ほかの娯楽が増えたことで漫画に興味を持たない・読まない子供が増え、さらに少子化の影響もあってか少年誌・少女誌の売り上げは減少してきており、休刊・廃刊するものも増えている。
English: However, in recent years, it has been commercially struggling because the comics are downloaded into personal computers and delivered domestically and internationally via P2P and so on due to the development of the Internet.
Japanese: しかし、近年、インターネットの発達により、漫画を画像としてパソコンに取り込み、P2Pなどで国内外を問わず配布されているため、商業的には苦戦を強いられている。
English: That started with heavy social criticism toward some rental comics ("Ninja Bugeicho" by Sanpei SHIRATO and other comics were taken up as harmful books by newspapers and PTA).
Japanese: それは一部の貸本漫画への大きな社会的な批判に始まる（白土三平の忍者武芸帳を筆頭に有害図書問題として新聞・PTAなどに取り上げられた）。
English: The outpouring of reactions and objections by fans to such criticism led to a gradual increase in the number of comic reviews.
Japanese: その批判に対するファンによる反発・異論の多さから徐々に寸評が増え始める。
English: Around the 1970s, Jun KAJII, Junzo ISHIKO and Shunsuke TSURUMI started to deliver their commentaries.
Japanese: 1970年頃からは梶井純、石子順造、鶴見俊輔らによって詳細な評論が出始める。
English: However, the number of professional critics and the opportunities of criticizing were small and it paled compared to literature, music and movie, also it was still hard to say that critical techniques were established.
Japanese: しかし専門の評論家や批評の場もまだ少なく、文学や音楽、映画に比べると大きく見劣りし、評論の手法も確立されているとは言い難い状況が続いた。
English: Fusanosuke NATSUME developed a unique method of comic analysis which focuses on comic's frame and line and comic-specific symbolic expression called 'manpu' in the 1990s, which was the beginning of a quest for manga studies.
Japanese: 1990年代に夏目房之介が、漫画のコマや描線と「漫符」と名付けられた漫画特有の記号的表現に注目して分析する独自の分析手法を開拓し、漫画学の模索が始まった。
English: Today, in addition to Natsume, Jun ISHIKO (he is not Junzo ISHIKO), Tomohiko MURAKAMI, Tomofusa KURE, Kunio NAGATANI and Yukari FUJIMOTO are working as a critic.
Japanese: 現在では夏目の他、石子順（石子順造とは別人）や村上知彦、呉智英、長谷邦夫、藤本由香里ら数名が活動する。
English: Sometimes, researchers and cartoonists of subculture field such as Eiji OTSUKA and Jun ISHIKAWA also deliver their commentaries.
Japanese: その他、大塚英志、いしかわじゅんらサブカルチャー畑の研究者や実作者によって批評が行われる事もある。
English: One reason behind this is the fact that it is often difficult to see the comic work itself due to the insufficiency of comic database because comics have been disposed of after reading in the past.
Japanese: その一つの背景として、これまで読み捨て状態にされてきたため、データベースの不備が著しく、作品を目にする事自体に困難が伴う場合が少なくないという状況がある。
English: Japan Society for Studies in Cartoon and Comics was established in 2001 and it is working to build a foundation of criticism including the improvement of database.
Japanese: 日本マンガ学会は2001年に設立され、現在データベースの整備など、評論の土台を固める作業に取り組んでいる。
English: In terms of the age and sex of main target readers, comics are classified as follows.
Japanese: 作品の主な対象となる読者の年齢や性別という観点では、次のように分類される。
English: For example, sometimes women read youth comics and adults read boys' comics.
Japanese: 例えば青年漫画を女性が読むこともあるし、少年漫画を大人が読むこともある。
English: Many comics are classified according to the number of frames in a set for developing a topic as follows.
Japanese: いくつのコマをセットとして話題を展開するかによって、多くの漫画は次のように分類される。
English: Comic (One page is divided by several frames and the topic develops with such several pages.)
Japanese: コミック（1ページが数個のコマで分割され、そのようなページ数枚で話題が展開されるもの）
English: Although it is possible to draw comics with just paper and a pencil, generally-read comics are painted with various painting tools.
Japanese: 紙と鉛筆さえあれば漫画を描くことは可能であるが、一般的に読まれるものは様々な画材を用いて描かれている。
English: Recently, sometimes no manuscript exists because a personal computer is used.
Japanese: 最近ではパソコンが用いられるために物理的な原稿が存在しない場合もある。
English: Personal computer (such as Macintosh, Adobe Photoshop and ComicStudio)
Japanese: パーソナルコンピュータ（Macintosh、AdobePhotoshop、ComicStudioなど）
English: In recent years, comic magazine sales have been decreasing, but comic book sales have been broadly flat while there is an increase or decrease.
Japanese: 近年、漫画雑誌の売上は減少を続けているが、漫画単行本の売上は年によって増減はあるがほぼ横ばいである。
English: In 1995, the sales of comic magazines and comic books were 355.7 billion yen and 250.7 billion yen, respectively, but the sales of comic magazines have been decreasing and the sales in 2005 was below that of comic book.
Japanese: 1995年には漫画雑誌の販売金額が3557億円、単行本の販売金額が2507億円であったが、漫画雑誌の売上は減少が続き、2005年には漫画雑誌の販売金額が単行本の金額を下回った。
English: Although magazine sales have dropped, some hits were produced among comic book franchises which were made into anime and so on.
Japanese: 雑誌の売上は低下したが、単行本にはアニメ化などのメディアミックスされた作品を中心にヒット作が生まれている。
English: It is said that people lost interest in reading magazines but they often learn a work through media franchise, thus the sales of comic books are maintained.
Japanese: 雑誌を読まなくなりメディアミックスで作品を知るケースが増えたため、単行本の売上は維持されているといわれている。
English: In other words, to emphasize a frame by cutting off a scene at the last frame of a page and put an important scene in the first frame of the next page.
Japanese: つまり、最後のコマで場面を一旦切り、ページをめくった次のページの一コマ目に重要なシーンを入れる事で、そのコマを強調する。
English: It is a technique for drawing comics to emphasize a frame by drawing one frame which straddles two pages.
Japanese: マンガの手法としては、その2ページにコマを一つだけ描く事で、そのコマを強く強調する。
English: A Japanese history book says that the Saga Goryu was founded in the Konin period by the fifty second Emperor, Saga (October 7, 786-August 28, 842), who had set up his palace on the ground of Daikaku-ji Temple.
Japanese: 日本の歴史書には、第52代嵯峨天皇（延暦5年9月7日(旧暦)（786年10月3日）-承和(日本)9年7月15日(旧暦)（842年8月24日））が弘仁の時世に、大覚寺（大覚寺）に宮殿を構えた。
English: He often visited Osawa-no-Ike (Osawa pond), Daikaku-ji Temple and Nakoso-no-Taki (Rapids of Nakoso), both of which were situated next to the temple, enjoying flower arrangement with the flowers blooming by the pond.
Japanese: 横に位置する大覚寺大沢池と名古曽の滝に出向かい、大沢池の花で華道をしたのが発祥と伝わる。
English: There is a description in the book that the Emperor Saga once said, 'From now on, I will respect a person as a mentor who admires the beauty of flowers' and encouraged the flower arrangement.
Japanese: 歴史書によると、その時に嵯峨天皇は「爾今、花を賞ずる者はこれを範とする」と言われ、華道の普及を進めたと記述が見える。
English: Although 'Saga Goryu' later declined for a while, the fifty ninth Emperor, Uda (June 14, 867-September 8, 931), with the aim of reviving the traditional culture like flower arrangement, entrusted the revival work to Koho MISHOSAI, who learnt flower arrangement of the Misho-ryu school, in the period when the Emperor Uda set up a rikyu (an imperial villa) on the ground of Daikaku-ji Temple.
Japanese: その後、一時「嵯峨御流」は衰退したが、第59代宇多天皇（貞観(日本)9年5月5日(旧暦)（867年6月10日）-承平(日本)元年7月19日(旧暦)（931年9月3日））が大覚寺に離宮を構えるようになった時世に華道などの伝統的文化の再興を図り、未生流を学んだ未生斎広甫に再興を託した。
English: Accepting the emperor's offer, Koho MISHOSAI strove to spread the flower arrangement of Saga Goryu, with the result that 'Saga Goryu' became known nationwide.
Japanese: これを受け、未生斎広甫は嵯峨御流の普及を進め、その結果「嵯峨御流」は全国的に名が知れ渡る様になった。
English: Kyo Kano (Kyoto branch of the Kano School, also called "Kyo-gano") was a school of painters who created many prominent works from the end of Azuchi Momoyama period through the Meiji period.
Japanese: 京狩野（きょうがのう）は、安土桃山時代末から明治期まで京都で活躍した画家の流派。
English: While most of the painters belonging to the Kano School left Kyoto for Edo (old Tokyo) after the fall of the TOYOTOMI family, some painters stayed in Kyoto.
Japanese: 豊臣氏滅亡後、狩野派のほとんどが江戸に下ったことに対して、京都に留まったものがいた。
English: Serving the Tokugawa family after Hideyoshi TOYOTOMI's death, most of the painters belonging to the Kano School went to Edo trusting that the Tokugawa shogunate would look after them.
Japanese: 豊臣秀吉没後、狩野派の大部分は徳川に仕え、徳川幕府を頼って江戸に下った。
English: As a result, he was suspected by the Edo bakufu (Japanese feudal government headed by a shogun) of rebellion after the fall of the TOYOTOMI family, however, pardoned through the mediation of Shojo SHOKADO and the Kujo family.
Japanese: このため豊臣氏滅亡後、幕府から嫌疑を掛けられてしまうが、松花堂昭乗、九条家のとりなしによって恩赦を受けた。
English: The decorative painting style peculiar to the works in the Momoyama period were handed down to Sansetsu KANO, the second school head, and generation to generation, and the Kyo Kano served Kugyo (the top court officials), temples and shrines.
Japanese: 2代山雪以降、装飾的な桃山の画風を代々受け継ぎ公卿衆や寺社に仕えた。
English: However, the Kyo Kano had incomparably smaller influence than the Edo Kano that was enjoying a large scale of patronage of the Edo bakufu.
Japanese: しかし幕府の手厚い庇護を受けた江戸狩野と比べるとその勢いに大きな隔たりがあった。
English: Despite the qualification for purveying works to the Imperial Court, the Kyo Kano was ranked third after the Tosa School and the Tsurusawa School, therefore there was a big difference in the circumstances between the Kyo Kano and other two schools.
Japanese: また宮廷の御用を得ていたものの、土佐派、鶴沢派に続く家柄でその境遇には大きな格差があった。
English: Kafu (family tradition) is a style of behavior, including custom and procedure, which has been specifically inherited down the generations within certain individual families.
Japanese: 家風（かふう）は、個々の特定の家において世代を越えて踏襲される固有の慣習・流儀などの行動様式である。
English: Ever since the clan system was established in ancient Japan, it has been deemed to be most important for those people in the upper class, especially in the families called honke (the head family) or chakuryu (the main branch of the family) to maintain and succeed for generations the line, status, rite, business, properties, kamon (family), and trade or profession of the family.
Japanese: 古代の氏制度以来、一族の家系・家格・家祭・家業・家産・家門・家職の維持・継承が日本の上流階層特に本家・嫡流と呼ばれる家においては最も重要視されてきた。
English: Therefore, the written code of family tradition, which was called kakun (family motto), kaken (family code) or kaho (family rules), had been prepared since the early days in those families including court nobles and warrior households and was regarded as the principle that should be followed by all family members headed by the family head.
Japanese: そのために公家や武家においては早くから家訓・家憲・家法などと呼ばれる家風の成文法化が進められ、当主以下構成員が守るべき原則とされてきた。
English: In the Edo period, every daimyo (feudal lord) family under the shogunate system was said to have a firm kafu and kakun, and even among some merchants and peasantry families, kafu was established and kakun and kaken were prepared.
Japanese: 江戸時代の幕藩体制のもとではどこの大名家にも確たる家風と家訓が存在したと言われ、更に一部の商人や農民の間でも家風の確立と家訓・家憲の作成が行われていた。
English: In each daimyo family, the family head and all vassals including karo (chief retainer) and other retainers regardless of their rank believed that it was the proof of fealty to the family of their lord to respect and maintain kafu.
Japanese: 各大名家においては当主や家老以下の家臣を問わず家風を尊重・保持することが御家への忠誠の証と考えられてきた。