nntsuzu/KFTT huggingface dataset:
English: Kabushiki Kaisha (a joint stock corporation) Heirakuji (literally, Heiraku-ji Temple) Shoten is a publishing company located at Nakagyo Ward, Kyoto City.
Japanese: 株式会社平楽寺書店（へいらくじしょてん）は京都市中京区にある出版社である。
English: The founder Jotoku MURAKAMI (birth date unknown-1626) was a bushi (samurai) from Tanba Prefecture, but opened up a shoshi (a book publisher and seller) after he came to Kyoto.
Japanese: 創業者の村上浄徳（?-寛永元年(1626年)）は、丹波国出身の武士であったが、京都に出て書肆を開いた。
English: At the times of Kanbe MURAKAMI the 2nd was born Joshin (which can also read Kiyonobu) MURAKAMI (year of birth unknown-1654) and Kanbe MURAKAMI the 3rd, born Soshin (which can also read Munenobu) MURAKAMI (year of birth unknown-1663), the bookstore contributed to publishing religious books of the Jodo (Pure Land) sect, but switched to the Hokke sect at the time of Soshin.
Japanese: 第2代の村上浄信（?-承応3年(1654年)）、第3代の村上宗信（?-寛文3年(1663年)）までは、浄土宗の宗書を手がけていたが、宗信の代に法華宗に転向した。
English: The relationship with Nissei of Fukakusa deepened since Motonobu MURAKAMI (Kanbe MURAKAMI the 4th,) and the Murakami Heirakuji bookstore started to exclusively publish religious books of the Nichiren sect, and renamed itself Hokke Shumon Shodo (Bookstore of the Hokke Sect) in 1741, which flourished and opened up a branch store in Edo during the Jokyo era.
Japanese: 第4代の村上元信以後、深草の日政との関係が密接になり、専ら日蓮宗の宗書を出版するようになり、村上平楽寺は、寛保元年（1741年）には、法華宗門書堂と号するまでになり、繁栄し、貞享年間には、江戸に出店もしている。
English: The bookstore closed its business in the Meiji Era, but in 1912, Kanbe MURAKAMI the 11th transferred the bookstore to Jisaku INOUE who restarted the old bookstore as a publishing company mainly publishing religious books of the Nichirei Sect under the new company name of Heirakuji Shoten (Inoue Heirakuji).
Japanese: 明治になって廃業したが、第11代村上勘兵衛が、大正2年（1912年）井上治作に店を譲渡し、平楽寺書店（井上平楽寺）を社名として、日蓮宗の宗書出版を中心に刊行する出版社として再出発を果たした。
English: Still today most of their published works are related to Buddhism, but for people who are not Buddhist scholars it is known as the publisher of "Toho Nenpyo" (literally, Chronological Table of the East).
Japanese: 現在でも出版物の大部分は仏教関連のものであるが、仏教研究者以外には『東方年表』を出版していることで知られている。
English: The term "Yohen Tenmoku tea bowl" refers to a tea bowl considered to be the best of Tenmoku (a stoneware glaze which is deeply stained by iron oxide) tea bowls.
Japanese: 曜変天目茶碗（ようへんてんもくちゃわん）は、天目茶碗のうち、最上級とされるもの。
English: Yohen Tenmoku tea bowls are said to have been made in Kenyo (a kiln that had existed in present-day Jianou City, Fujian Province, People's Republic of China).
Japanese: 曜変天目茶碗は、現在の中華人民共和国福建省建甌市にあった建窯で作られたとされる。
English: There are only four (or three; see below for further details) tea bowls identified as existing Yohen Tenmoku tea bowls in the world.
Japanese: 現存が確認されているものは世界でわずか4点（または3点、後述）しかない。
English: As beautiful star-like spots appear on the tea bowls, people came to use the kanji 'Yo' (曜 or 耀) meaning 'twinkling of a star' or 'glitter' instead of 窯 or 容.
Japanese: その星のような紋様・美しさから、「星の瞬き」「輝き」を意味する「曜（耀）」の字が当てられるようになった。
English: There is also controversy as to whether the spots were intentionally or accidentally made.
Japanese: また、この紋様が意図的に作り出されたものか、偶然によるものかは議論がわかれている。
English: Sotan gitsune (fox) was a monster fox, a story of which has been passed down at the Shokoku-ji Temple in Kamigyo Ward, Kyoto City.
Japanese: 宗旦狐（そうたんぎつね）は、京都市上京区の相国寺に伝わる化けキツネ。
English: As the name 'Sotan' suggests, it disguised itself as SEN no Sotan, who strengthened the foundation of Sen-ke family tea ceremony school, to occasionally appear in tea parties.
Japanese: 「宗旦」の名の通り、千家茶道の基礎を固めた人物・千宗旦に化けてしばしば茶席に現れたといわれる。
English: The wonderful temae (tea serving method) of Sotan made the participating chajin (master of the tea ceremony) as well as his disciples that usually saw the procedure to stare with awe.
Japanese: 宗旦の見事な点前は、出席した茶人たちはもちろんのこと、普段からそれを見慣れている弟子たちですら見とれるほどだった。
English: However, Sotan appeared again after Sotan left and apologized for being late.
Japanese: ところが宗旦がその場を去った後、また宗旦が現れ、遅刻して来たことを詫びた。
English: Similar incidents occurred several times, so that Sotan's disciples began to think that there should be an imposer of Sotan.
Japanese: そのようなことが何度かあり、弟子たちは宗旦に偽者がいると考え始めた。
English: Several days later, they waited until Sotan appeared in a tea ceremony room and began to interrogate the fake Sotan after confirming that real Sotan was at home.
Japanese: 後日、茶室に宗旦が現れたときを見計らい、弟子たちは宗旦本人が自宅にいることを確かめた上で偽宗旦を問い詰めた。
English: Then, the fake Sotan honestly admitted that he was just an imposer and an old fox living among bushes of a temple that wanted to do temae himself since he was always awed by the temae of Sotan, and swore to never cause a mischief ever again before escaping as a fox.
Japanese: すると偽宗旦は素直に自分が偽者であることを明かし、自分は寺の藪に住む古狐であり、ずっと宗旦の点前に憧れていたので、いつか自分もそのような点前をしてみたかった、もう二度と悪さをしないと詫び、狐の姿となって逃げ去った。
English: He meditated along with other Unsui, went around for Takuhatsu (a traditional form of begging, common to Buddhist monks in Japan), and occasionally tried all his power to recover the temple from its financial crisis.
Japanese: 他の雲水たちと共に座禅を組み、托鉢に回り、時には寺の財政難を建て直すべく力を尽くした。
English: He occasionally let out a fox tail by absorbing too much in go, but people associated with him despite knowing his fox identity.
Japanese: 碁に熱中するあまり、狐の尻尾を出してしまうこともあったが、人々は狐の正体を知りつつも付き合っていた。
English: Sotan Gitsune advised the shop keeper to collect and sell a great amount of lotus leaves, and buy soy beans from the profit.
Japanese: 宗旦狐は蓮の葉をたくさん集めて来て、それを売って金に換えて大豆を買うよう勧めた。
English: The tofu shop keeper decided to return the favor by making a tempura of mice considered to be the favorite food of foxes and sent it to Sotan Gitsune.
Japanese: お礼をしようと考えた豆腐屋は、狐の大好物である鼠の天婦羅を作って宗旦狐に贈った。
English: Despite saying so, he could not stop staring at his favorite food and ate it since he could not wait.
Japanese: とはいうものの目は大好物に釘付けで、つい我慢できずにそれを食べてしまった。
English: Sotan Gitsune immediately returned to a fox, and dogs in the neighborhood saw it and started barking hard.
Japanese: 途端に宗旦狐はもとの狐の姿に戻り、それを見た近所の犬たちが激しく吼え始めた。
English: The fox escaped instantaneously into the bush, but it was too frantic to see the destination and so fell into a well to death (according to other theories, the fox was shot by a hunter with a gun or held the farewell tea ceremony by predicting his own death).
Japanese: 狐は咄嗟に藪の中に逃げ込んだが、慌てたために井戸に落ち、命を落としてしまった（別説では猟師に鉄砲で撃たれた、または自ら死期を悟って別れの茶会を開いたともいう）。
English: Shokoku-ji Temple built a small shrine for Sotan Inari (fox deity), mourning the death of Sotan Gitsune that had contributed greatly for the temple, and made the fox the guardian deity of the So-do Hall (a hall for meditation).
Japanese: 相国寺は寺のために尽くしてくれた宗旦狐の死を哀れみ、宗旦稲荷として祠を築き、狐を僧堂の守護神とした。
English: Not played by professional Noh actors nor belonging to any Noh schools, it is an original local art that has been handed down for about over 450 years in this region.
Japanese: 玄人の能楽師によるものではなく、何処の能楽流派にも属さず、約450年以上前から受け継がれて来たこの地方独自の郷土芸能である。
English: Kurokawa-Noh, as it is called in general, refers to the Noh performed at 'Ogi-sai' (Ogi festival) at Kasuga-jinja Shrine in Oaza Kurokawa, Kushibiki-machi, Yamagata Prefecture, but it is also performed at Kinen-sai (a festival for bountiful harvests) of March 23, Rei-sai (an annual festival for the shrine) of May 8, and Shinkoku-kansha-sai (a festival for the harvest of the year) of November 23.
Japanese: 一般に黒川能と呼ばれるのは、山形県櫛引町大字黒川の春日神社の「王祗祭」で演じられる能のことを指すが、他にも3月23日の祈年祭、5月8日の例祭、11月23日の新穀感謝祭でも舞われる。
English: Also, it is presented at Dewasanzan-jinja Shrine on top of Mt. Haguro on July 15, and at Shonai-jinja Shrine in the site of Tsurugaoka-jo Castle on August 15.
Japanese: また羽黒山上の出羽三山神社で7月15日に、鶴岡城内の庄内神社でも8月15日にそれぞれ奉納上演される。
English: In Ogi-sai, after Ogi-sama of Kasuga-jinja Shrine, an object inhabited by a god's spirit when it descends and called Yorishiro is invited, Noh is performed on the stage in two houses from Kami-za (a troupe from the south area of Kasuga-jinja Shrine) and Shimo-za (a troupe from the north area of Kasuga-jinja Shrine) each on the evening of February 1.
Japanese: 王祗祭は2月1日の夜に春日明神のよりしろである王祗様を迎え、上・下両座に祭の庭を設けて能が演じられる。
English: At dawn of the next day, February 2, a ritual called Miya-nobori is held, when Ogi-sama goes back to the shrine, and in the evening another Noh play is performed at the hall of worship of the shrine in the presence of the both troupes.
Japanese: 翌2日の暁には王祗様が社に帰る宮のぼりという神事があり、夕方から舞台造りの拝殿で両座立ち会いの能が行われる。
English: Among the Noh costumes are Hikari-kariginu and Shokko no nishiki, which are said to be Emperor Seiwa's clothes and designated as tangible cultural assets of Yamagata Prefecture, and some of the Noh masks are considered to have been made in the early days of Noh.
Japanese: 使われる衣装類には山形県有形文化財に指定されている光狩衣・蜀紅の錦といった能衣装は清和天皇の御衣とされ、中には現在で言う能楽の発生初期のものと見られる能面もある。
English: Also, some Noh music pieces already abolished and some motions already forgotten in the four extant schools, Kanze school, Hosho school, Kongo school, and Konparu school remain.
Japanese: また観世流・宝生流・金剛流・金春流の四座では既に廃曲となった謡曲や、四座では忘れられた所作も現存している。
English: One legend says that Emperor Seiwa, who stole out of the palace and concealed himself in Kurokawa owing to some circumstances from 859 to 877, loved the local people and nature there and taught them the private Noh of the court called Ouchi-kakari.
Japanese: 貞観年間（859～877年）にある事情から宮廷を抜け出し、黒川の地に身を隠した清和天皇がこの地の人情と自然を愛し、大内掛りという宮廷の秘事能を里人に教えたのが由来。
English: The other legend says that the third prince of Emperor Gokomatsu (Muromachi period), Ogawa no miya or Kokawa no miya became a priest to avoid the social disorder and changed his name to Ryuju no miya, who lived in Onabe, Atsumi-machi, then in Kurokawa after traveling through the country, where he taught Noh to the local people.
Japanese: 後小松天皇（室町時代）の第3皇子小川宮が世の乱れを避けて出家、龍樹宮と改名して諸国を巡歴した後温海町小名部、黒川と移った際里人に能を伝授したというもの。
English: Neither of them has historical grounds, and they are considered to be typical of the common stories in which a young god or hero becomes a valuable person after traveling through the country.
Japanese: どちらにもそれらしい歴史的根拠は伝わっておらず、貴種流離譚の一種と見られる。
English: The legends are also said to be from the background that the Muto clan, who had governed the area since the Kamakura period, invited Noh players from Kyoto.
Japanese: あるいは鎌倉時代からこの地方を治めた武藤氏が京から能役者を招いた事があったのが伝説の背景なのではないかともいわれる。
English: Some other historical spots in this region are Koshi-zuka, which is considered to be Ogawa no miya's grave, Shoju-in, which is said to be the old site of his temporary palace, and Bokudo-in, which is said to have been built by boys who took care of Emperor Seiwa's horses.
Japanese: 地元には小川宮の墓とされる皇子塚、宮の行宮跡という松樹院、清和天皇付きの牧童が建てたという牧童院などもある。
English: Futaoki, one of the tea ceremony equipment, is a rest on which the lid of the iron tea pot or the dipper end of the water ladle is placed; it is made of bamboo, metal, or ceramic.
Japanese: 蓋置（ふたおき）とは釜の蓋や柄杓の合をのせるための茶道具で、材質は竹、金属、陶磁器類などがある。
English: Futaoki made of bamboo is particularly called Hikikiri; bamboo used for Futaoki is invariably cut so that its roots turn upward.
Japanese: 竹の蓋置は引切とも呼ばれ、竹の根元が上になるように逆竹に切る約束となっている。
English: The way of cutting bamboo differs; when it is used with Furo (a portable brazier used in summer season), the bamboo node is situated at the top, which is called Tenbushi; when it is used with Ro (a fixed hearth used in winter season), the bamboo node is almost in the middle, which is called Chubushi.
Japanese: また炉と風炉の場合で切り方が異なり、天節と呼ばれる上端に節があるものが風炉用、中節と呼ばれる節が真中あたりに来るものが炉用である。
English: In the tea ceremony procedure using Tana (a shelf on which tea utensils are placed), Futaoki is usually displayed at the end of the tea ceremony; however, the bamboo-made Futaoki is not displayed except special ones.
Japanese: 棚を用いた点前では最後に飾られることが多いが、竹製のものは特別の物以外は飾らない。
English: Those Futaoki named "Hoya," "Gotoku," "Ikkanjin," "Mitsuningyo," "Kani," "Sazae," and "Mitsuba," which were of the Rikyu's taste, are called 'Seven kinds of lid rests' and require a special treatment.
Japanese: 千利休が選んだとされる火舎、五徳、一閑人、三つ人形、蟹、さざえ、三つ葉の7つは「七種蓋置」と呼ばれ、特別な扱いがある。
English: Furosaki Byobu, one of the tea ceremony equipment, is a folding screen of two panels, which is placed in the corner at the upper end of the tea-making tatami mat when the tea ceremony procedure is done in a room of more than 4.5 tatami mat size.
Japanese: 風炉先屏風（ふろさきびょうぶ）は茶道具の一つで、広間の点前の際に道具畳の向こう側に置く2つ折りの屏風のこと。
English: Basically, the screen is 72.72 cm in hight, 92.4 cm in width (one side), 17mm in thickness, upholstered with white torinoko paper (stout smooth paper), with lacquered black edge; this type of screen is called the Rikyu style.
Japanese: 高さ2尺4寸、片幅3尺5分、五分角、鳥の子白張、蝋色縁のものを基本とし、これを利休形と呼ぶ。
English: The width of this screen is usually made to fit the Kyoma tatami mat size (95.5 x 191 x 5.5 cm); it is also made to fit the Chukyoma tatami mat size (91 x 182 x 5.5 cm) or the Edoma (88 x 176 x 5.5-6 cm) tatami mat size.
Japanese: なお幅に関しては、利休形は京間の畳に合うように作られており、中京間、江戸間の場合は、その幅にあわせて作られる。
English: Nishiki-e-shinbun (a newspaper having nishiki-e prints in it) refers to a visual news medium which was issued for several years in the early Meiji period in Japan, and was a newspaper which explained each one newspaper article using one nishiki-e (an especially colorful Japanese woodblock print) which was a kind of ukiyo-e (a Japanese wood-block print).
Japanese: 錦絵新聞（にしきえしんぶん）とは、日本の明治初期の数年間に発行されていた視覚的ニュース・メディアで、一つの新聞記事を浮世絵の一種である錦絵一枚で絵説きしたもの。
English: Most issues of nishiki-e-shinbun were issued for a very short period from 1874 to 1881 and, later on, disappeared pressured by small-scale newspapers.
Japanese: ほとんどが明治7年（1874年）から明治14年（1881年）にかけてのごく短期間に発行され、やがて小新聞に押されて姿を消していった。
English: Shinbun' which was first issued in Tokyo in early Meiji period became popular to the extent that it became a souvenir of Tokyo, however, this 'shinbun' was directed to the intellectuals and, therefore, it had no furigana (small-sized phonograms put beside Chinese characters to show the sound of those characters) no pictures in it and, therefore, it was hard to read for the general public.
Japanese: 明治初期に東京で創刊された「新聞」は東京土産になるほど流行したが、知識人層向けで振り仮名や絵もなく、一般大衆には読みにくいものであった。
English: Nishiki-e-shinbun featured this 'shinbun' as its subject matter and worked out its expression for even the general public who could only read hiragana (one of the two types of phonograms of Japanese language) to be able to understand the shinbun through pictures and easy words.
Japanese: この「新聞」を浮世絵の題材に取り上げて、平仮名しか読めない大衆も絵と平易な詞で理解できるようにしたものが錦絵新聞である。
English: Reiko Tsuchiya positioned the nishiki-e-shinbun saying 'nishiki-e-shinbun was a news medium lining up next to the small-scale newspapers which were directed to non-intellectual people as their readers'.
Japanese: 土屋礼子は「非知識人層を読者対象とした小新聞に連なるニュース媒体であった」と位置づける。
English: Nishiki-e-shinbun was a medium which popularized shinbun in the period when the modern journalism rose to power.
Japanese: 錦絵新聞は近代ジャーナリズムの勃興期に、新聞というものを一般大衆の身近なものにしたメディアであった。
English: The first one was a newspaper which was produced by a printer-publisher named 'Gusoku-ya store' (armor and furniture store) by using articles of Tokyo-nichinichi (day after day in Tokyo) Shinbun and nishiki-e prints by Hoki OCHIAI and adding explanation texts with furigana in them to the nishiki-e prints, and was also sold by Gusoku-ya as nishiki-e-version 'Tokyo-nichinichi Shnbun'.
Japanese: 東京の版元「具足屋」が東京日日新聞の記事を題材に、落合芳幾の錦絵にふりがなつき解説文を添えて錦絵版の「東京日日新聞」として売り出したものである。
English: Nishiki-e-shinbun was a medium which reported sensational incidents using a type of graphic work that was nishiki-e, and it has been said that 'its bizarre and sensational content' has 'a character similar to that of today's photography weekly magazines'.
Japanese: 錦絵というグラフィックを用いてセンセーショナルな事件を報じるメディアであり、「猟奇的・煽情的な内容」は「現代の写真週刊誌に似た性格のもの」であるとされた。
English: The nishiki-e-version Tokyo-nichinichi Shinbun became extremely popular for the understandability of its nishiki-e prints, the novelty of its 'shinbun', and the interestingness of its topics.
Japanese: 錦絵版東京日日新聞は、錦絵のわかりやすさと「新聞」の目新しさ、トピックの面白さで大変な人気を得た。
English: Following this, about 40 kinds of nishiki-e-shinbun were founded one after another from printer-publishers in Tokyo, Osaka, Kyoto, etc., in addition to those that included articles of Yubin-hochi Shinbun newspaper added with nishiki-e prints of Honen TSUKIOKA.
Japanese: これに倣って、郵便報知新聞の記事に月岡芳年の錦絵を添えたもののほか、東京、大阪、京都などの版元から約40種もの錦絵新聞が続々と誕生した。
English: However, when ko-shinbun (small newspaper) began to be issued which combined therein simple texts and contents same as those of nishiki-e-shinbun, and illustrations printed in one color which needed less time to print than nishiki-e prints, nishiki-e-shinbun was overwhelmed by the ko-shinbun and most of nishiki-e-shinbun newspapers disappeared less than ten years after their appearance.
Japanese: しかし、錦絵新聞同様の平易な文章と内容に、錦絵より作成に時間のかからない単色ずりの挿絵を組み合わせた小新聞（こしんぶん）が発行されるようになると、これに押されて錦絵新聞は誕生から10年もたたないうちにほとんど姿を消した。
English: Nishiki-e-shinbun was welcomed due to 'the novelty of its ideas and style, and its character featuring mainly gossip' and was very popular among the general public who had been away from newspapers.
Japanese: 錦絵新聞は「発想・スタイルの目新しさとゴシップ主体の性格」が受け、それまで新聞に縁のなかった一般大衆に大人気となった。
English: Explanatory captions including furigana for the prints of the news was easily readable for those who did not know Chinese characters well and, therefore, nishiki-e-shinbun let the general public know the interestingness of 'shinbun'.
Japanese: 振り仮名があるニュースの絵説きは漢字をあまり知らない層でも容易に読めたため、「新聞」の面白さを一般大衆に知らしめることとなったのである。
English: As a visual reporting medium and as a medium of gossip journalism, nishiki-e-shinbun had something common to it and photography weekly magazines and wide-shows on TV in the later days.
Japanese: 視覚的報道メディアとして、またゴシップ・ジャーナリズムの媒体として、のちの写真週刊誌やテレビのワイドショーにも通ずるものがある。
English: However, in terms of quick reporting, nishiki-e-shinbun only followed the newspaper articles and could report the same news as those in the newspapers later than the newspapers for several days at earliest and, for some subject matters, nishiki-e-shinbun for each of them was issued several months after each of them occurred.
Japanese: しかし、速報性という点では、新聞記事の後追いであり、早くとも数日遅れ、題材によっては何か月も後の発行であった。
English: When small-scale newspapers each including pictures and furigana like hiragana-eiri-shinbun started to be issued as if they followed the success of nishiki-e-shinbun, nishiki-e-shinbun disappeared from the visual field of the general public as it was overwhelmed by those small-scale newspapers.
Japanese: 錦絵新聞の成功を追うように平仮名絵入新聞のような、絵と振り仮名をそなえた小新聞が発行され始めると、それに押されるように錦絵新聞は大衆の視野から消えていった。
English: In addition to the inferiority of nishiki-e-shinbun in quick reporting, 'the trend of leaving nishiki-e prints by the general public' is pointed out as the reason for the decline of nishiki-e-shinbun.
Japanese: 廃れた理由は、速報性においては新聞に劣ることのほか、「民衆の錦絵離れ」が指摘されている。
English: Not a few eshi (painters) and writers for nishiki-e-shinbun became illustration painters, reporters, and contributors for the small-scale newspapers.
Japanese: 錦絵新聞の絵師は小新聞の挿絵画家に、文章筆者は小新聞の記者、寄稿者になったものも少なくない。
English: Some of e-zoshi-ya (stores which sell illustrated story books published in Edo period) which were the printer-publishers later handled sales of newspapers.
Japanese: 版元であった絵草子屋の中には、新聞の販売を担当するようになったものもあった。
English: In addition to those like the nishiki-e versions of Tokyo-nichinichi Shinbun and Yubin-hochi Shinbun whose numbers of copies were verified to be many, some nishiki-e-shinbun were issued for a limited number of times as advertisements or attachments to the main paper.
Japanese: なお、東京日日新聞や郵便報知新聞の錦絵版のように多数の発行が確認されるもののほか、本紙の宣伝や付録として、ごく限られた回数のみ発行されたものもある。
English: When regarded as ukiyoe, nishiki-e-shinbun sometimes is called 'shinbun-nishiki-e' meaning nishki-e prints handling shinbun as their subject matter.
Japanese: 浮世絵として見る場合は、新聞を題材とした錦絵、という意味で「新聞錦絵」と呼ばれることもある。
English: Shinbun-nishiki-e was a form of nishiki-e (ukiyo-e woodblock print) in terms of its printing technique, however, was not highly evaluated so often as art.
Japanese: 新聞錦絵は、印刷技術的には錦絵（浮世絵版画）の一形態ではあるが、芸術作品としてはなかなか評価されなかった。
English: One of the reasons was that shinbun-nishiki-e handled realistic subject matters and carried not only nishiki-e prints which were created by eshi who were artistically highly evaluated such as Yoshiiku and Yoshitoshi.
Japanese: 題材が生々しく、また芳幾や芳年のような、美術的に評価の高い絵師による錦絵ばかりではなかったことも一因である。
English: Hideo ONO and Gaikotsu MIYATAKE can be listed as the researchers who noted shinbun-nishiki-e early on.
Japanese: 早くから新聞錦絵に注目していた研究者として、小野秀雄と宮武外骨が挙げられる。
English: Through shinbun-nishiki-e, we can visually learn what the manners and customs in those days were, what incidents happened then and how people understood them, and what events people were interested in.
Japanese: 当時の風俗はどんなものであったか、どのような事件があってどう受け止められていたか、大衆がどのような事象に興味を持っていたか、を視覚的に知ることができる。
English: Like other ukiyoe prints created in Meiji period, carminite and ramco which were based on imported inexpensive aniline were used in shinbun-nishiki-e and they exerted a colorful and loud effect and, therefore, shinbun-nishiki-e had different color tones from those of ukiyoe created before the end of Edo period.
Japanese: 明治の浮世絵の例にもれず、新聞錦絵には舶来の安いアニリン系の洋紅や紫ムラコが使用され、鮮やかでいささかどぎつい効果をあげ、幕末までの浮世絵と色調が異なる。
English: On February 24, 1868, the first newspaper in Japan, Chugai Shinbun started to be published (the frequency of its issuance was once per about 4 to 5 days).
Japanese: 1868年（慶応4年）2月24日、日本初の新聞、中外新聞が創刊される（発行頻度はおおむね、4、5日毎。
English: On January 28, 1871, the first daily newspaper in Japanese language in Japan, 'Yokohama-mainichi Shinbun' started to be published.
Japanese: 1871年1月28日（明治3年12月8日）、日本初の日本語の日刊新聞、「横浜毎日新聞」が創刊される。
English: On February 21, 1872, 'Tokyo-nichinichi Shinbun' started to be published as the first daily newspaper in Tokyo.
Japanese: 1872年（明治5年）2月21日、「東京日日新聞」が東京初の日刊紙として創刊される。
English: On June 10 of the same year, 'Yubin-hochi Shinbun' started to be published as a weekly newspaper (this paper became a daily newspaper on June 6 in the next year).
Japanese: 同年6月10日、「郵便報知新聞」が週刊新聞として創刊される（翌年6月6日より日刊紙）。
English: Around July to August in 1874, nishiki-e-version 'Tokyo-nichinichi Shinbun' started to be published.
Japanese: 1874年（明治7年）7-8月ごろ、錦絵版「東京日日新聞」が創刊される。
English: In 1875, nishiki-e-version 'Yubin-hochi Shinbun' and 'Osaka-nishiki-ga (nishiki-e picture) Shinbun' started to be published.
Japanese: 1875年（明治8年）、錦絵版「郵便報知新聞」、「大阪錦画新聞」が創刊される。
English: In April in the same year, a small-scale newspaper 'Hiragana-e-iri Shinbun' (a newspaper in hiragana with pictures therein) started to be published with Aisen TAKAHATA as its editor in chief.
Japanese: 同年4月、東京で高畠藍泉を編集長として小新聞「平仮名絵入新聞」が創刊される。
English: In November in the same year, a small-scale newspaper 'Kana-yomi Shinbun' (read-in-kana newspaper) (in Tokyo) and 'Naniwa (Kansai Region) Shinbun' (in Osaka) started to be published.
Japanese: 同年11月、小新聞「仮名読新聞」（東京）、「浪花新聞」（大阪）が創刊される。
English: In September 1876, the Hiragana-e-iri Shinbun was renamed to Tokyo-e-iri Shinbun and became daily.
Japanese: 1876年（明治9年）9月平仮名絵入新聞が東京絵入新聞と改題され日刊化。
English: In 1877, the Seinan War broke out and nishiki-e-shinbun featuring the war as their subject matter were published in March to May.
Japanese: 1877年（明治10年）、西南戦争が起こり、これを主題とする錦絵新聞が3月から5月にかけて発行される。
English: Hoki OCHIAI and Honen TSUKIOKA who were representative e-shi (painter) were fellow disciples studying under Kuniyoshi UTAGAWA.
Japanese: 代表的絵師である落合芳幾と月岡芳年は、歌川国芳門下の兄弟弟子であった。
English: In addition to the above, there were Kokushu TOYOHARA, Eisen SENSAI (Eisen KOBAYASHI), Toshinobu YAMAZAKI, Kunimasa UMEDO, Mosai UTAGAWA, Hoshu SHINSAI, Shoso MISHIMA, etc.
Japanese: その他、豊原国周、鮮斎永濯（小林永濯）、山崎年信、梅堂国政、歌川孟斎、真斎芳州、三島蕉窓など。
English: Yoshiiku painted his works in a realistic painting style and he painted like Gasan who directly wrote text in a black portions of each of his nishiki-e prints.
Japanese: 芳幾は写実的な画風で、錦絵の空白部分に直接詞書きを置く画賛のような書き方であった。
English: Nishiki-e prints by Honen were realistically painted in detail including even the background, and the portions for text and nishiki-e prints were clearly separated from each other.
Japanese: 芳年の錦絵は、背景まで写実的に細かく書き込まれ、文章部分と錦絵部分が明確に区分されていた。
English: In addition, a series of nishiki-e prints by Kokushu TOYOHARA which were based on the Yubin-hochi Shinbun are still preserved.
Japanese: このほか、郵便報知新聞をもとにした豊原国周の錦絵シリーズも残されている。