nntsuzu/KFTT huggingface dataset:
English: The 'Kentsuba-monyo-tsuki enkei Kintsuba' refers to kintsuba cakes which have the original round shape and a 'katana tsuba' (also called ken-tsuba, which is a round or squarish guard at the end of the grip of a bladed Japanese weapon such as a 'katana' samurai sword) pattern on the surface.
Japanese: 「剣鍔文様付き円型きんつば」は、考案当時の円形を留めていて剣鍔の文様がついているきんつばのことを指す。
English: At present they are sold in some areas across Japan, including Takaoka City (Toide-machi, Fukuoka-machi) and Tonami City in Toyama Prefecture.
Japanese: 現在、富山県高岡市（戸出町、福岡町(富山県)）や富山県砺波市など、全国のいくつかの地域で販売されている。
English: There are five Japanese confectionery stores in Toide-machi, Takaoka City, Toyama Prefecture, and all of them are selling the 'Kentsuba-monyo-tsuki enkei Kintsuba.'
Japanese: 富山県高岡市戸出町には5軒の和菓子店が存在するが、いずれも「剣鍔文様付き円型きんつば」を販売している。
English: Locally, the 'kintsuba' is also called 'kentsuba' and given a 'kentsuba' pattern on its surface.
Japanese: 現地では、きんつばのことを「けんつば（剣鍔）」とも呼び、剣鍔が持っている文様が表面につけられている。
English: Nyubachibo (literally, mortar [a bowl-shaped vessel] bonze) is one of Japanese yokai (ghosts, spirits and monsters) that was transmuted from a copper disk (cymbal) used as a musical instrument for theatrical performance.
Japanese: 乳鉢坊（にゅうばちぼう）とは、芝居の鳴り物に使う銅盤が変化して生まれた日本の妖怪である。
English: Sekien TORIYAMA's 'Gazu Hyakki Tsurezure Bukuro' (The Illustrated Bag of One Hundred Random Demons; the term 'hyakki' in its title is a pun on the usual hyakki, replacing the character for demon which is written as "鬼" in Japanese with a character for vessel written as "器," and sure enough, most of the yokais shown in this book are tsukumogami) portrays the Nyubachibo in a human-like figure wearing a copper disk (or cymbal) on the head, along with a Hyotan-kozo (a calabash or bottle-gourd boy) which is a specter of bottle gourds.
Japanese: 鳥山石燕の「画図百器徒然袋」では、銅盤を頭にかぶった人のような姿で、瓢箪の妖怪である瓢箪小僧と共に描かれている。
English: Since a similar copper disk (or cymbal) yokai was depicted in "Hyakki Yagyo Emaki" (The 'Night Parade of One Hundred Demons' Picture Scroll) in the Muromachi period, some believe that Nyubachibo was modeled on it.
Japanese: 室町時代の『百鬼夜行絵巻』にも同じような銅盤状の妖怪が描かれているので、これがモデルになったという説がある。
English: Hyotan-kozo (literally, a calabash or bottle gourd boy) is one of Japanese yokai (ghosts, spirits and monsters) that was transmuted from a calabash or bottle gourd.
Japanese: 瓢箪小僧（ひょうたんこぞう）とは、瓢箪が変化して生まれた日本の妖怪である。
English: Sekien TORIYAMA's "Gazu Hyakki Tsurezure Bukuro" (The Illustrated Bag of One Hundred Random Demons; the term 'hyakki' in its title is a pun on the usual hyakki, replacing the character for demon which is written as "鬼" in Japanese with a character for vessel written as "器," and sure enough, most of the yokais shown in this book are tsukumogami) portrays the Hyotankozo in a human-like figure whose head is a bottle gourd, along with a Nyubachibo (literally, a mortar [a bowl-shaped vessel] bonze).
Japanese: 頭部が瓢箪となった人のような姿で、鳥山石燕の「画図百器徒然袋」に乳鉢坊と共に描かれている。
English: From ancient times, Japanese people have believed that spirits and souls may easily stay in a hollow object, such as a bottle gourd.
Japanese: 古来より日本では、瓢箪のように中が空洞になったものには霊魂がこもりやすいといわれる。
English: There are magical folk beliefs, such as hanging gourd may prevent diseases and growing gourds in the yard may cause a disaster.
Japanese: 瓢箪を吊るすと病気にならない、庭に瓢箪を作ると変事が起きるなどの呪術的な俗信がある。
English: The gourd which was possessed by an evil spirit became a yokai, which may also be called the Hyotankozo.
Japanese: そうしたものに悪い霊が瓢箪に取り憑いて妖怪となったものが、瓢箪小僧ともいう。
English: An Eritate-goromo (literally, standing-collar robe) is one of Japanese yokai (ghosts, spirits and monsters) that was portrayed in Sekien TORIYAMA's yokai art collection book: "Gazu Hyakki Tsurezure Bukuro" (The Illustrated Bag of One Hundred Random Demons; the term 'hyakki' in its title is a pun on the usual hyakki, replacing the character for demon which is written as "鬼" in Japanese with a character for vessel written as "器," and sure enough, most of the yokais shown in this book are tsukumogami [a type of Japanese spirits that originate in items or artifacts that have reached their 100th birthday and become alive]).
Japanese: 襟立衣（えりたてごろも）は、鳥山石燕の妖怪画集『画図百器徒然袋』にある日本の妖怪。
English: Sojobo of Mt. Kurama (also called Kurama Tengu), one of the eight greatest Japanese tengu (long-nosed goblins), used to wear a clerical robe with a standing collar, which reportedly transmuted into a yokai and was thus named the Eritate-goromo.
Japanese: 天狗の首領である日本八大天狗の1人、鞍馬山僧正坊の身に纏っている僧衣の襟立衣が妖怪化したものとされる。
English: According to a legend, Sojobo mistakenly believed that he suddenly realized Buddhahood in the middle of ascetic practices, thereby failing to become Buddha after death.
Japanese: 修行途中にもかかわらず悟りを得たと思い違えために死後も成仏できなかった。
English: Although he became a tengu, he still wore the priest's robe as if he persisted in the dignity as a priest.
Japanese: 天狗となってもなお僧の位階に固執するかのように僧衣を身に纏い続けた。
English: It is supposedly either Sojo's fatal arrogance or the possession by an evil spirit that caused the robe to turn into a yokai: the Eritate-goromo.
Japanese: この驕り高ぶりの業、もしくは何らかの霊の憑依によって衣から変化したものが、妖怪の襟立衣とされる。
English: Minowaraji or Minosoji is one of Japanese yokai (ghosts, spirits and monsters) which is portrayed in Sekien TORIYAMA's yokai art collection book, "Gazu Hyakki Tsurezure Bukuro" (The Illustrated Bag of One Hundred Random Demons; the term 'hyakki' in its title is a pun on the usual hyakki, replacing the character for demon which is written as "鬼" in Japanese with a character for vessel written as "器," and sure enough, most of the yokais shown in this book are tsukumogami [a type of Japanese spirits that originate in items or artifacts that have reached their 100th birthday and become alive]).
Japanese: 蓑草鞋（みのわらじ、みのそうじ）は、鳥山石燕の妖怪画集『画図百器徒然袋』にある日本の妖怪。
English: Some people insist that Sekien created it for fun, while others believe that it was a tsukumo-gami (a type of Japanese spirits that originate in items or artifacts that have reached their 100th birthday and become alive) transmuted from an old straw raincoat and straw sandals which had been possessed by the grudge of farmers upon whom heavy taxes had been imposed at prolonged poor harvest time.
Japanese: 石燕が遊び絵として創作したものとの説や、凶作が続いた時期に年貢を厳しく取り立てられた農民の怨みの念が、古い蓑や草鞋に乗り移って付喪神と化したものだとの説がある。
English: Since both straw raincoats and straw sandals were something to wear, they were considered to be possessed easily by the owner's unconscious feelings and thoughts.
Japanese: 蓑と草鞋はどちらも人間が身につけて使用する物のため、知らず知らずの内に持ち主の念が憑きやすいと見なされていたようである。
English: Incidentally, straw raincoats were regarded as possessing magical power as many visiting gods ('raiho-jin' in Japanese, referring to other-worldly gods visiting with good luck) wore them.
Japanese: なお、蓑は来訪神の多くが身に纏っているように呪力があるものとされていた。
English: Such magical property supposedly transmuted into yokai quite easily.
Japanese: そのような器物は呪力によって妖怪化しやすいと考えられていたともいう。
English: Tsunohanzo is one of Japanese yokai (ghosts, spirits and monsters) which is portrayed in Sekien TORIYAMA's yokai art collection book, "Gazu Hyakki Tsurezure Bukuro" (The Illustrated Bag of One Hundred Random Demons; the term 'hyakki' in its title is a pun on the usual hyakki, replacing the character for demon which is written as "鬼" in Japanese with a character for vessel written as "器," and sure enough, most of the yokais shown in this book are tsukumogami [a type of Japanese spirits that originate in items or artifacts that have reached their 100th birthday and become alive]).
Japanese: 角盥漱（つのはんぞう）は、鳥山石燕の妖怪画集『画図百器徒然袋』にある日本の妖怪。
English: Tsunohanzo as a yokai portrayed in the "Gazu Hyakki Tsurezure Bukuro" is thought to be Sekien's creation inspired by an episode of the tsunohanzo owned by ONO no Komachi, a waka poet who lived in the Heian period.
Japanese: 『画図百器徒然袋』の角盥漱は、平安時代の歌人・小野小町の使用していた角盥漱の妖怪化として創作されたものとされる。
English: It is said that OTOMO no Kuronushi, who was one of the Rokkasen (six best Waka poets) like Komachi, plagiarized Komachi's waka poem and introduced the poem in the anthology of waka poems.
Japanese: 小町と同じく六歌仙の1人である大伴黒主が、小町の歌を自分の歌として歌集に書き込んだという。
English: Finding out the plagiarism, Komachi attempted to prove the true authorship of her work and therefore poured some water from her tsunohanzo onto a page on which the waka in question had been handwritten with Chinese ink by Kuronushi, so that the letters were washed out, thereby exposing Kuronushi's guilt.
Japanese: その際、小町がそれを自分のものと証明するために歌の書かれた紙を角盥漱で洗ったところ、文字が流れ落ちて黒主の罪が明らかになったという。
English: In his illustration, the Tsunohanzo looks like Komachi wearing juni-hitoe (twelve-layered ceremonial kimono) and has her tsunohanzo put in the place of the head with a pair of handles protruding like a demon's horns as if they symbolized Komachi's obsession.
Japanese: 衣服は小町のような十二単で、頭部に角盥漱を頂いており、小町の執心を表すように、盥の2本の柄が鬼の角のように突き出た姿として描かれている。
English: Gotoku-neko (literally, tripod cat) is one of Japanese yokai (ghosts, spirits and monsters) that was portrayed in Sekien TORIYAMA's yokai art collection book: "Gazu Hyakki Tsurezure Bukuro" (The Illustrated Bag of One Hundred Random Demons; the term 'hyakki' in its title is a pun on the usual hyakki, replacing the character for demon which is written as "鬼" in Japanese with a character for vessel written as "器," and sure enough, most of the yokais shown in this book are tsukumogami [a type of Japanese spirits that originate in items or artifacts that have reached their 100th birthday and become alive]).
Japanese: 五徳猫（ごとくねこ）は、鳥山石燕の『画図百器徒然袋』にある日本の妖怪。
English: According to the picture, a Nekomata (a mythical two-tailed monster cat) placed a gotoku (a tripod, and more particularly, a three or four-legged kettle stand used at a sunken hearth) on the head like a crown and is making fire with a hifuki-dake (bamboo blowpipe used to stimulate a fire) in the sunken hearth.
Japanese: 2本の尻尾を持つ猫又が、五徳（囲炉裏でやかんなどを乗せる台）を冠のように頭に頂き、火吹き竹を持って囲炉裏で火を起こしている姿で描かれている。
English: A similar cat with the gotoku placed on the head is depicted in "Hyakki Yagyo Emaki" (The 'Night Parade of One Hundred Demons' Picture Scroll), a collection of yokai illustrations drawn by Mitsunobu TOSA in the Muromachi period.
Japanese: 土佐光信による室町時代の妖怪画『百鬼夜行絵巻』にも同様に五徳を頭に乗せた猫の姿がある。
English: Meanwhile, Sekien, in his comment on the Gotokuneko in the "Gazu Hyakki Tsurezure Bukuro," refers to Shinano no Zenji Yukinaga who is considered to be the author of the "Tale of the Heike."
Japanese: また『百器徒然袋』の解説では、『平家物語』の作者とされる信濃前司行長が引き合いに出されている。
English: One theory has it that although Yukinaga was basically an educated person, he failed to recall two of the seven virtues described in the dance music named 'Dance of the Seven Virtues' which had followed the seven virtues of the military arts of Emperor Taiso of Tang (Tang Taizong,) thereby being scornfully nicknamed the 'Young man of the Five Virtues,' and therefore he became thoroughly tired of this world and retired to live in seclusion.
Japanese: 行長は本来は学識ある人物だったが、唐の太宗の武の七徳に基づく舞曲「七徳の舞」の内の二つの徳を忘れたことから「五徳の冠者」と渾名され、世間に嫌気がさして遁世したという説がある。
English: The term Gotokuneko was supposedly created to be a pun on the word gotoku: the Five Virtues (called gotoku in Japanese) and the gotoku as an object.
Japanese: 五徳猫はこの五徳と器物の五徳との言葉あわせで創作されたものとされる。
English: Others, however, doubt the believability of it, insisting that the Gotokuneko making a fire itself was no more than the product of the imagination of those who had viewed the illustration.
Japanese: しかし、これは画図を見た者が後に想像したことに過ぎないといわれている。
English: Celebrities and calligraphers often write the saying and draw words on the sign on request.
Japanese: 著名人や書家などが、人からの依頼に応じて格言や看板の文字を書くことが多い。
English: The stuffed bell pepper is a dish made with ground meat and bell peppers.
Japanese: 肉詰めピーマン（にくづめピーマン）とは、挽肉とピーマンを使った料理の名称。
English: The stuffed bell peppers are made by cutting bell peppers lengthwise in half, stuffing the halves with hamburger mixture, and then baking them.
Japanese: 肉詰めピーマンは、ピーマンを縦半分に切ったものに、ハンバーグのタネを詰め、焼いたものである。
English: They should be baked so that when heated up the ground meat mixture won't fall out and will be cooked through.
Japanese: 加熱する際に、肉がこぼれないように且つ火が通るように焼き上げなければならない。
English: It is said the stuffed bell peppers are good for those who hate vegetables, but they sometimes leave only the peppers uneaten, from which the meat mixture can be easily removed.
Japanese: 野菜嫌いに対して作るとよいとされているが、ピーマンと挽肉は簡単に剥がれてしまうため、ピーマンだけを残されることもある。
English: There are other variations of stuffed peppers where meatball mixture is used instead of hamburger mixture and tuna is used instead of meat.
Japanese: バリエーションとして、ハンバーグではなく肉団子のタネを使う例や肉ではなくツナを使う例もある。
English: The Chayatsuji is characterized by its fine pattern which illustrates waterside scenery, and it is fundamentally applied to summer kimono.
Japanese: 水辺の風景を細かい文様で著した物を指し、基本的に夏の着物に適用される。
English: The term 'Tsuji' here refers to 'Katabira' (an unlined lightweight hemp summer kimono), and more accurately, it means a 'Katabira in the "chaya" pattern.'
Japanese: 「辻」とは「帷子」（麻単の着物）のことであり、つまり「”茶屋”の帷子」というのが本意である。
English: The term 'Chaya' refers to a dye technique called 'Chaya-zome' (Chaya-dyed) invented in the early Edo period (Kanbun era).
Japanese: 「茶屋」とは「茶屋染」という江戸時代の初期（寛文年間）頃に発明された染色の一種を指す。
English: However, hemp full dresses themselves are rare nowadays, and the Chaya-zome is mostly done on silk (thin silk, such as silk gauze, including Ro and Sha fabrics in Japanese).
Japanese: だが、現在は麻の礼服自体が珍しく、もっぱら絹（絽や紗といった薄手の物）に染められることが多い。
English: The established theory is that it is called 'Chaya' because Shirojiro CHAYA created the dye technique and the design.
Japanese: この「茶屋」の語源については、茶屋四郎次郎が染め方や図案を考えたことから、というのが定説である。
English: However, this theory is also discredited because the Chaya family's main business was not a kimono merchant (dry goods store), and chaya-zome was not started when the family prospered.
Japanese: しかし、茶屋家の本業は呉服屋ではなく、茶屋染の発祥も茶屋家の繁栄した時期とはズレがあるため、この説には疑問もある。
English: The kimono design book 'On-hiinakata' published in 1667, which includes the description 'ground color, Chaya-some,' is considered to be the first historical appearance.
Japanese: 寛文7年（1667年）に出版された着物図案帳「御ひいなかた」に「ぢしろ　茶やそめ」と書かれた説明が歴史上の初出とされる。
English: The Chayatsuji refers to a kimono such that, generally, on the while (or uncommonly, light yellowish orange or pale greenish blue) hemp cloth, the Chayazome design is done in the basic color of indigo, in combination with yellowish orange.
Japanese: 主に白（希に薄い黄橙色や浅葱色）の麻地に藍を基本とし黄橙色を併用して模様を書いた着物とされていた。
English: In those days a 'dip dyeing' technique was used, but craftsmen in the Genroku era invented a noribosen (resist rice paste is applied by stencil to both sides of the fabric to avoid dyeing prior to dip dyeing) technique.
Japanese: この頃は「浸染め」技法であったが、元禄頃に糊防染の技法が発明された。
English: Ironically, the invention of Yuzen caused the indigo-based, simple Chayazome to go out of fashion.
Japanese: 皮肉にも友禅の発明により、藍染め主体で地味な茶屋染は流行から外れていった。
English: After the Kyoho Reforms which were typical of the tendency to admonish against luxury that dominated the order of the day, the simple Chaya-zome had lost the interest of the merchant class but started to please samurai-class ladies.
Japanese: やがて享保の改革など奢侈を戒める風潮が主体となると、町人の関心を失い地味だった茶屋染は武家の婦人に気に入られることとなる。
English: The Hoei and Shotoku eras witnessed a gradual change in the pattern from large and bold to finer and smaller.
Japanese: 宝永・正徳(日本)頃には大柄・大胆だった模様が次第に細く小さくなる傾向が現れ始めた。
English: Morisadamanko' (magazines about manners and customs published in the latter half of the Edo period) by Morisada KITAGAWA in 1850, describes the mode as follows.
Japanese: 嘉永3年（1850年）「守貞漫稿」（喜多川守貞著）によれば、以下のような内容の記述がされている。
English: There are three kinds of summer wear for goten jochu (palace maids) which are Tsuji, Chayatsuji and Sarashinuno (bleached cloth), and they were properly used according to the social position.'
Japanese: 「御殿女中の夏服には、辻、茶屋辻、晒布の三種があり、身分の高低によって使い分けられていた」
English: The design of old (i.e. from the late 17th century to the early 18th century) Chayazome completely differs from that of the present (i.e. in the early 19th century).'
Japanese: 「昔（※17世紀後期～18世紀初）の茶屋染と今（※19世紀前半）の茶屋辻は柄行きが全く異なる。」
English: The old Chayazome depicted letters and specific objects, whereas the present Chayatsuji has the (fine) full pattern.'
Japanese: 「昔の茶屋染は文字や具体的な物を著していたが、今の茶屋辻は（細かい）総模様である」
English: At that time the 'depiction of water scenery' that features the present-day Chayatsuji was also fixed.
Japanese: このころに「水辺の風景を表す」という現代の茶屋辻を意味づける特徴も固定化された。
English: Incidentally, 'Morisadamanko' ranked 'Tsuji' above the Chayatsuji, where the Tsuji (which is also called 'Hontsuji' to be distinguished from 'Chayatsuji') refers to a Katabira which has a colorful full pattern embroidered and Surihitta-dyed (i.e. a stenciled imitation of a shibori technique called hitta in which small square motifs with a small dot of color in the center cover a specific area).
Japanese: ちなみに「守貞漫稿」にて茶屋辻より格が高いとされた「辻」（「茶屋辻」と区別するため「本辻」とも言われる）とは刺繍や摺匹田（絞り染めを型染めでそれらしく表す染色技法）により色彩も多彩に総柄の模様を表した帷子のことである。
English: Only the ladies of the highest class at the O-oku, including the Midaidokoro (the shogun's wife), Gorenchu (or Gorenju, the shogun's lawful wives), daimyo's (feudal lords') wives and high-ranking oku-jochu (chambermaids) were allowed to wear the Tsuji, and Churo (the middle-grade ladies-in-waiting) or lower class wore the Chayatsuji.
Japanese: 辻は御台所や御簾中、大名婦人や高位の奥女中にのみ着用が許され、茶屋辻は大奥の中臈未満クラスの着用であった。
English: A design that dominated among the Tsuji and Chayatsuji is currently called 'Goshodoki.'
Japanese: この辻や茶屋辻で多用されたのが、現在「御所解」といわれる文様である。
English: Even after class system collapsed due to the Meiji Restoration, the high-toned formality of the 'Chayatsuji' pattern was accepted by populace.
Japanese: 明治維新によりこれらの制度も崩壊したが、「茶屋辻」のその文様の形式は、一般庶民にも格の高い物として受け入れられた。
English: Thereafter, the definition of the term Chayatsuji changed, and it started to refer to the pattern itself rather than the style of kimono.
Japanese: その後、用語の意味は変遷して「茶屋辻」に染められていた模様そのものを指すようになった。
English: Still today the Chayatsuji is a popular pattern for summer homon-gi (a kimono worn when visiting someone's home or formal parties) and tomesode (a formal black kimono worn by married women) and is dyed mainly on silk product.
Japanese: 現在も主に夏の訪問着や留袖の模様として、主に絹製品に染められている。
English: Zashiki (literally, sitting mat) is the place where (in the medieval times) the floor was covered with a mat or carpet so as to, literally, sit down.
Japanese: 座敷（ざしき）は、（中世においては）字義通り、座るために、褥（しとね）などを敷いたところ。
English: A Zashiki is a large Japanese-style room in a restaurant, hotels or the like, which functions as a banquet room.
Japanese: 飲食店や宿泊施設などで、酒宴を行うためにもうけられている大きな和室。
English: They allegedly originated from dance music performed within a kabuki play, Kiyomoto (kiyomotobushi; a school of joruri recitation in which the voices are pitched slightly higher than usual) and the like, and gained popularity from the Bunka-Bunsei period (1803-1830).
Japanese: 歌舞伎のなかの舞踊曲や、清元などを起源として、文化・文政（1803-1830)のころから盛んになったといわれている。
English: As for the origin of kayokyoku (Japanese popular songs, distinguished from J-pop), a leading theory advocated by Otojiro KAWAKAMI is that it originated from enzetsu-ka (literally, speech songs, political satire taking the form of songs) which developed into enka.
Japanese: 日本の歌謡曲（流行歌）の起源については、川上音二郎などの演説歌＝演歌とする説が有力である。
English: When record companies were founded one after another in the early Showa period, there emerged many singers who were on each record label, such as Tamaki TOKUYAMA, Chiyako SATO, Ichiro FUJIYAMA and noriko AWAYA.
Japanese: 昭和初期、レコード会社が次々にでき、それぞれの会社所属の歌手が名乗りをあげたとき、徳山璉、佐藤千夜子、藤山一郎、淡谷のり子などの歌手がいた。
English: Among these singers who had studied singing at school, there were also singers who were originally geisha, such as Katsutaro KOUTA, Ichimaru, Koume AKASAKA and Michiyakko.
Japanese: 声楽出身の歌手に混じって、小唄勝太郎、市丸、赤坂小梅、美ち奴などの芸妓出身の歌手も多く出ていた。
English: Particularly, around 1950, fancy Japanese-style restaurants started prosper all over the country in a Korean War-related economic boom.
Japanese: とくに1950年ころからは、朝鮮戦争がらみの好景気で、全国の料亭などが繁盛した。
English: In the popular song world, many song records under the category of ozashiki songs were released to catch onto the popularity of those restaurants.
Japanese: 歌謡界でもそれにあやかるように、お座敷唄あるいはお座敷ソングと呼ばれる歌のレコードがたくさん発売された。
English: It is a type of mysterious snakes, which is introduced in Ryoi ASAI's collected ghost stories, "Otogi-boko" (literally, a doll-shaped talisman for children, which was a stuffed doll wrapped in silk clothes and used as effigies to rid the child of misfortune and disease), in which the Shichihoda had reportedly appeared in Higashiyama Ward, Kyoto City.
Japanese: 浅井了意の怪異小説集『伽婢子』の中で、京都東山区に出現したとされる奇怪なヘビの一種。
English: Those who were bitten by this highly venomous, deadly snake may die within seven steps, thereby being named 'Shichiho-da' (seven-step snake).
Japanese: この蛇に噛まれた者は、その猛毒により7歩歩かぬ内に死んでしまうので、「七歩蛇」という名前がつけられたという。
English: It is said that after many mysterious snakes were found and extirpated at a residence of the Urai family at the western foot of Mount Higashi-yama, the garden trees withered one after another and fell.
Japanese: 東山西の麓にある浦井という屋敷で、何匹もの奇怪な蛇が出現したのを退治したところ、ある日庭の木々が次々に枯れて倒れたとされる。
English: "Noborigama" these days generally means a kiln with a partitioned chamber for firing large quantities of ceramics and other ware, built on a slope so that gravity draws the flue gas through the kiln, keeping the high temperatures constant throughout the chamber.
Japanese: 登り窯（のぼりがま、英語：）と現在一般に呼ばれるものは、窯業で陶磁器等の大量に焼成するために、炉内を各間に仕切り、斜面等地形を利用し重力による燃焼ガスの対流を利用して、炉内の各製品を焼成時に一定に高温に保てるよう工夫された窯の形態のことをいう。
English: This kiln works particularly well for manufacturing uniform goods when the surface of ware is coated by glaze.
Japanese: 表面に釉薬を使用する場合は製品の均一という点でこの炉窯が優れている。
English: Before the development of transport systems, Noborigama was constructed near to where the ware would be sold or in places abundant in the raw materials of clay, fuel and water.
Japanese: 交通が発達するまでは、消費地に近い、製品の原料となる粘土、燃料、水が豊富な場所が立地に選ばれた。
English: 1. The term "Noborigama" is used for the traditional Renboshiki-noborigama (multi-chambered climbing kiln), as opposed to gas-fueled kilns, electric kilns and the Roller Hearth Kiln, used for producing advanced industrial ceramics ("Noborigama" in the narrow sense).
Japanese: 1.伝統的な（ガス窯や電気窯、先端産業のセラミック焼成用のローラーハースキルン等に対して）連房式登窯を象徴的に指す言葉として用いる場合（狭義の登り窯）。
English: 2.The term "Noborigama" is also used for "Anagama," built on a slope by digging holes or tunnels, which are used for baking Sue ware and porcelain at high temperatures.
Japanese: 2.一般的に丘陵などの斜面を掘り窪めたり、くりぬいたりして高火度で須恵器や陶器を焼成する窖窯（あながま）。
English: 3. Furthermore, the term "Noborigama" also refers to ordinary kilns, including the Chinese "Dragon kiln" for ceramics baking built on a slope ("Noborigama" in the wide sense).
Japanese: 3.中国で斜面を利用して陶磁器を焼成した龍窯（りゅうよう）を含めた窯一般をさす場合（広義の登り窯）とがある。
English: Anagama is a underground or semi-underground type kiln for baking Sue ware and porcelain, built on a slope => refer to "Anagama"
Japanese: 窖窯（あながま）斜面を利用した地下式ないし半地下式の須恵器や陶器を焼成する窯→窖窯
English: Until the early Kofun period in Japan, earthenware was baked in an oxidizing fire at sites such as baking pits for earthenware or Haji ware (a type of plain, unglazed, reddish-brown Japanese earthenware) in a manner similar to field burning.
Japanese: 日本では、古墳時代初頭までは野焼きのように土器焼成坑、土師器焼成坑などの施設で酸化焔焼成によって土器が焼かれていた。
English: However, from the middle of the Kofun period, Sue ware and its production methods, firing in a reductive atmosphere using Noborigama (Anagama) and shaping using a potter's wheel, were introduced from the Korean peninsula.
Japanese: しかし古墳時代中期より朝鮮半島より須恵器が伝来したことに伴ってその生産方法である登り窯（窖窯）による還元焔焼成、ならびに轆轤使用も伝わった。
English: By the Edo period, the even more efficient Renboshiki-noborigama appeared, its half-tube shape baking rooms in a stepped arrangement advantageous for producing ware with uniform finish and giving it greater capacity.
Japanese: まもなく江戸時代になると、かまぼこ状の焼成室を階段状に連ねて仕上がりのばらつきを防ぐとともに大量生産を可能にしたいっそう熱効率が改良された連房式登窯が出現する。
English: Then, several connecting baking chambers, which due to their long narrow shape look like a row of caterpillars when viewed from the side, continue up the slope.
Japanese: 傾斜に沿って上にいくつかの焼成室が続き、それらが繋がった細長い形態をしているため、横から見ればかまぼこが連続したようなイモムシ状に見える。
English: A small hole called a "Koguchi" is made in each baking chamber for adding more firewood.
Japanese: さらに各焼成室には薪を投入するための「小口」と呼ばれる小さな穴が設けられているのが普通である。
English: The temperature inside the kiln is generally kept around 1300 ℃ for baking, and products are usually baked for about sixty hours.
Japanese: 焼成温度は一般に最高で1300℃前後に保たれ、約60時間焼くのが普通である。