nntsuzu/KFTT huggingface dataset:
English: Bunraku puppets have different 'kashira' according to their age, status and personality as well as their gender, as follows:
Japanese: 文楽人形には、男女のほか、年齢・身分・性格によって「かしら」が異なり、それぞれ以下のような種類がある。
English: Komei for busho (Japanese military commander) aged forty or fifty years with an intelligent and delicate expression
Japanese: 40代から50代頃の武将で、聡明繊細な表情を浮かべた孔明（こうめい）
English: Keisei, the most splendid female head with elegance and sexual charm of a highest-rank yujo (prostitute) as well as with an inner fortitude
Japanese: 最高位の遊女としての気品と色気、芯の強さを持ち合わせた女性のかしらで、最も華麗である傾城（けいせい）
English: Heads are made of Kiso hinoki cypress, and in order to show expressive facial signals, gimmicks are built into moving parts such as eyebrows (Aochi) and eyes (Hikime and Yorime), and unazuki-ito (string for nodding) is attached to the inside of heads.
Japanese: 素材は木曽檜を用い、眉（アオチ）・目（ヒキ目・ヨリ目）など動くものには仕掛けを、また内部にうなづき糸をつけるなどして、表情を豊かにする工夫が施されている。
English: Thus puppeteers need to put costume on a puppet which they are going to manipulate.
Japanese: よって使用する際には、人形遣いは自分で遣う人形の衣裳をつけることが必要となる。
English: It is said to be generated as a result of linkage of puppet plays with Shamisen music and joruri in the early Edo period.
Japanese: 人形芝居が江戸時代初期に三味線音楽、浄瑠璃と結びついて生まれたとされる。
English: It flourished with great talents such as Gidayu TAKEMOTO, who opened the Takemoto-za Theater in Osaka, and authors Monzaemon CHIKAMATSU and KI no Kaion.
Japanese: 太夫では竹本座を大坂に開いた竹本義太夫、作者では近松門左衛門や紀海音といった優れた才能によって花開いた。
English: It was more popular than kabuki for a while, having various impacts on kabuki.
Japanese: 一時期は歌舞伎をしのぐ人気を誇り、歌舞伎にもさまざまな影響を与えた。
English: Even today yagurashita (the lowest-rank tayu) is considered to have a higher status in accomplishments than Danjuro ICHIKAWA.
Japanese: 今日でも櫓下（最高位の太夫）は市川団十郎よりも芸事における地位が高いとされる。
English: It is also called "maruhon-mono" because many works of kabuki are an adaptation of ningyo joruri and books containing full-length works of joruri are called "maruhon"(complete set of books).
Japanese: 多くの歌舞伎が人形浄瑠璃の翻案であり、浄瑠璃を省略なく収めた本を丸本と称するところから、丸本物（まるほんもの）と呼ばれる。
English: During the Kansei era, between the end of the eighteenth century and the early nineteenth century, Bunrakuken UEMURA I created a za (theater) at Kozu-bashi Bridge (Chuo Ward, Osaka City), inheriting the tradition of ningyo joruri, which was about to go out of fashion with the popularity of kabuki.
Japanese: 18世紀末から19世紀のはじめにかけて（寛政年間）、初世植村文楽軒は歌舞伎の人気に押されて廃れつつあった人形浄瑠璃の伝統を引き継ぎ、高津橋（大阪市中央区(大阪市)）に座を作り再興させた。
English: This theater was moved to Matsushima (Nishi Ward, Osaka City) in times of Bunrakuken UEMURA (Bunrakuo) in 1872 and changed its name into "Bunraku-za Theater."
Japanese: この劇場は1872年、植村文楽軒（文楽翁）の時に松島（大阪市西区_(大阪市)）に移り、「文楽座」を名乗る。
English: As Bunraku-za became the only theater specialized in ningyo joruri at the end of the Meiji period, it represented ningyo joruri.
Japanese: 明治末期には文楽座が唯一の人形浄瑠璃専門の劇場となったことから、人形浄瑠璃の代表的存在となった。
English: Bunraku-za was brought under the control of Shochiku in 1909, and Shochiku started to give performances of bunraku.
Japanese: 1909年には文楽座は松竹の経営となり、松竹が文楽の興行を行うこととなった。
English: After being burned down in 1929, it was relocated and built anew in Yotsubashi (Nishi Ward, Osaka City) but was burned down again at the time of Osaka Air Raid in 1945.
Japanese: 焼失後の1929年には四ツ橋（大阪市西区）に新築移転したが、1945年の大阪大空襲で再度焼失。
English: It was restored in 1946, but in 1956 it was relocated and built anew on the remains of Benten-za Theater, Dotonbori (Chuo Ward, Osaka City).
Japanese: 翌1946年に復興したが、1956年、道頓堀弁天座跡（大阪市中央区）へ新築移転した。
English: In connection with the restoration, Ikutaro HOSOI traveled all over Shikoku, which had escaped war damage, in order to collect puppets and was granted Ojuhosho (Medal with a Yellow Ribbon for industriousness) by the Emperor Showa for his great contribution.
Japanese: 復興に関しては細井幾太郎が戦火を免れた四国を周り人形を収集、多大なる貢献をしたとして昭和天皇より黄綬褒章を下賜された。
English: Due to conflict with Shochiku over better treatment, the Bunraku world was divided into 'Bunraku Chinami kai' on the side of the company and 'Bunraku Mitsuwa kai' on the side of the union in 1948.
Japanese: 1948年、松竹との待遇改善がからみ、文楽界は会社派の「文楽因会」と組合側の「文楽三和会」に分裂した。
English: Bunraku Kyokai was newly established, mainly operated by Osaka Prefecture and Osaka City and sponsored by the Ministry of Education, Science, Sports and Culture (currently Ministry of Education, Culture, Sports, Science and Technology) and Japan Broadcasting Corporation, so the bunraku world was reintegrated and set to restart.
Japanese: 新たに大阪府・大阪市を主体に文部省（現・文部科学省）・日本放送協会の後援を受けた財団法人文楽協会が発足し、文楽界は再統一され、再出発することとなった。
English: Though the bunraku world suffered a talent shortage for a while, young people have begun to approach the bunraku world to become a disciple since the trainee system was launched in 1973.
Japanese: 一時期は人材不足に悩んだ文楽界だが、1973年に研修生制度が始まってからは、家柄に関係なく若者が門を叩くようになった。
English: The National Bunraku Theatre was completed in 1984, and then Asahi-za (former Bunraku-za), having given performances from time to time after withdrawal of Shochiku, was closed down.
Japanese: 1984年には国立文楽劇場が完成し、松竹の撤退後もときおり文楽を興行していた朝日座、旧文楽座は幕を閉じる。
English: They are divided into two categories according to the viewpoint of the Edo period: works featuring the past events called 'jidaimono' and those featuring contemporary matters called 'sewamono' (domestic plays).
Japanese: 江戸時代から見て過去の出来事を扱った「時代物」と、同時代のことを主題にした「世話物」がある。
English: It was exposed that Tokutayu TOYOTAKE, a former head director of the welfare group of bunraku performers "Mutsumi kai," unduly withdrew 50 million yen of the group's fund from the bank account.
Japanese: 文楽の演者らで作る福利厚生団体・『むつみ会』の元代表理事・豊竹十九大夫（とよたけとくたゆう）が、同会の資金資金約5,000万円を、銀行口座から不正に引き出していたことが発覚した。
English: Because of this, the group held an extraordinary general meeting on November 24, 2007 and resolved to charge Tokutayu for, and to denounce him as being guilty for, professional embezzlement.
Japanese: これを受け、同会は、2007年11月24日に臨時総会を開き、十九大夫を業務上横領罪の疑いで告訴・告発する方針を決めた。
English: Name of the conservation group: Sagami Ningyo Shibai Rengokai (Hayashi-za [Atsugi], Hase-za [Atsugi] and Shimonaka-za [Odawara])
Japanese: 保護団体名：相模人形芝居連合会（林座（厚木）、長谷座（厚木）、下中座（小田原））。
English: In addition to the three groups mentioned above, Sakitori-za (Hiratsuka City) and Ashigara-za (Minamiashigara City), which were restored after the war, are also members of Rengokai.
Japanese: 連合会には3座の他、前鳥座（平塚市）と足柄座（南足柄市）の2座（戦後に復興）も加盟している。
English: Name of the conservation group: Sado Ningyo Shibai Hozonkai (Sado Bunya doll Promotion Association and Nibo-mura doll Preservation Society).
Japanese: 保護団体名：佐渡人形芝居保存会（佐渡文弥人形振興会、新穂村人形保存会）。
English: As of September 2004, 14 groups of Ningyo-za, 6 tayu stables and 6 groups of masters of shamisen belong to the Promotion Association, and Awa Jurobe-za gives regular performances at Awa Jurobe Yashiki.
Japanese: 振興会には2004年9月現在、人形座14団体、大夫部屋6団体、三味線師匠6団体が所属しており、阿波十郎兵衛屋敷では阿波十郎兵衛座が定期公演を行っている。
English: Tools and products of Tenguhisa, a puppeteer, are designated as a significant tangible folk cultural asset.
Japanese: 人形師・天狗久の制作用具・製品等が重要有形民俗文化財に指定されている。
English: Today one puppet is manipulated by one puppeteer, but shortly after its initiation (in the early Showa period), a puppet was sometimes manipulated by three puppeteers.
Japanese: 現在は一人遣いのもののみだが、発祥当初（昭和初期）は三人遣いのものもあった。
English: In Japanese folk belief, yurei are faintly visible figures who have remained in Utsushiyo (the land of the living) even after their soul left their body after death, in order to resolve some form of lingering attachment or to seek revenge for a wrong.
Japanese: 幽霊（ゆうれい）は、日本の民間信仰の中で、人が死亡して、肉体から魂が離れた後も、未練や遺恨を解くために、現世（うつしよ）に残り、生前の姿で幽か（かすか）に可視化したもの。
English: According to original Buddhist teaching, there is no such thing as the death of a person, because people experience Rinne Tensho (all things being in flux through the endless circle of birth, death, and rebirth, the circle of transmigration).
Japanese: 本来の仏教には、輪廻転生をするので、特定される個人としての死はない。
English: Concepts of this kind were added to the original form of Buddhism, which originated in India, over time and according to region.
Japanese: それらに類する概念は、インドから派生した仏教に、様々な時代や地域で後から付加されたものである。
English: This is a reason why misinterpretations sometimes occur in discussions about the folk beliefs of Japan.
Japanese: このことが、日本の民間信仰の説明に用いられる時に、誤解が発生する原因である。
English: Modern Shrine Shinto, which places importance on formality, ceremonies, and "humanized divinity (divine prince)" has also abandoned many old beliefs.
Japanese: また現在の神社神道も、格式や儀式や「人格神（尊・みこと）」に重きをおいて、様々なものをそぎ落とした。
English: In Koshinto and Shinto, sorei shinko (ancestor worship), one of their fundamental values, is believed to have been practiced in the Jomon Period, together with a concept of souls existing after death.
Japanese: 古神道や神道において、祖霊信仰（先祖崇拝）は根幹となる価値観の一つであり、死者の霊魂の存在の観念と共に縄文時代にはすでに発生していたといわれている。
English: The former are violent spirits that bring evil and the latter are calm spirits that bring luck.
Japanese: それぞれ「荒ぶり禍をもたらす魂」と、「和ぎり福をもたらす魂」とされる。
English: In this worldview, the world is divided into realms; Utsushiyo, the actual world, the world of the living, Tokoyo (the perpetual country), also called Tokkoyo (eternal night), and the sacred world called Kakuriyo (the eternal, forever unchanging, distant land over the sea, or the world of the dead, or heaven).
Japanese: 世界観においては、現世（うつしよ）という現実世界と、常世・常夜（双方とこよ）または、幽世（かくりよ）といわれる神域に別れる。
English: Some regard Tokkoyo as hell or yominokuni (Hades, or the realm of the dead), yet others regard it merely as the divine world after death called Kakuriyo.
Japanese: 常夜は地獄や黄泉の国とされる考えと、たんに幽世といわれる神の世界であり死後の世界という考えがある。
English: There now follow descriptions of yurei and similar concepts which have been passed down through generations as a result of the beliefs outlined above.
Japanese: 以上の前提により「日本で伝承されてきた」幽霊とその他の類例を表記する。
English: They are believed to be sorei (a holy spirit or shoro) that have returned during the period of the New Year (shorei and sorei are the origin of Toshigami, the god of the incoming year) or Obon (the festival of Buddhist All Souls' Day).
Japanese: 正月（精霊・祖霊は年神の起源でもある）やお盆の時期に帰ってきた祖霊（精霊・しょうろう）といわれる。
English: Borei are spirits that have departed from the body but remained in Utsushiyo, and they appear faintly in the form they had during life.
Japanese: -死後、肉体を離れた魂が、現世に残り、生前の姿で幽かに可視化したもの。
English: Yurei are spirits that have departed from the body but remain in Utsushiyo as they have a grudge about something that happened before death, and they too appear faintly in the form they had during life.
Japanese: -死後、肉体を離れた魂が、遺恨を解くため現世に残り、生前の姿で幽かに可視化したもの。
English: Onryo are spirits that have departed from the body but remain in Utsushiyo to bring catastrophe, appearing faintly in the form they had during life.
Japanese: 死後、肉体を離れた魂が、怨念から現世に残り、生前の姿で幽かに可視化し、禍をもたらすもの。
English: Ikiryo are spirits who have had part of their soul separated from their body and bring catastrophe, appearing faintly in the form they had during life.
Japanese: 生きている人の強い怨念から、魂の一部が分霊し、その人の姿で幽かに可視化し、禍をもたらすもの。
English: Shoryo are spirits that have departed this world to Tokoyo or Tokkoyo and can not be seen even if they return during the Obon festival.
Japanese: 常世・常夜（とこよ）へ旅立った霊魂で、お盆に帰ってきても、見ることはできない。
English: It is also a general term referring to the soul, spirit, life, and gods or part thereof used in a theory of animism in cultural anthropology.
Japanese: 若しくは文化人類学のアニミズム論で用いられる魂や霊魂や命や神の総称や一部を表す言葉）
English: Shoryo or shoro are also called sorei shoryo, but interpretations of them vary: some regard them as merely shorei spirits having descendants; others believe that spirits are rated or promoted from shoro to sorei, or finally to a god depending on the time after death or the way the descendant holds a memorial service; still others regard sorei as a general term for a shiryo remaining in Utsushiyo or a shorei that has departed to Tokoyo.
Japanese: 祖霊（それい）精霊のことでもあるが、精霊の内、あくまで子孫がいる者の霊を祖霊とする考えや、死後の時間経過や子孫の弔い（とむらい）のしかたにより、位付けされ、精霊から祖霊に果ては神に変わるとする考えや、現世に残った死霊と常夜へ旅立った精霊の総称を祖霊という考えがある。
English: Words created to define other spirits, such as natural spirits, guardian spirits, the spirits of animals, floating spirits, and earthbound spirits, are "coined words" created in recent years.
Japanese: その他、自然霊・守護霊・動物霊・浮遊霊・地縛霊などは、近年に作られた「造語」である。
English: They are concepts (not particularly regarded as being part of an ideology) of a small group of people whose motivation may be connected to financial profit.
Japanese: 特定の利益誘導からともとれる、ごく狭い範囲の人々の考え（思想にすらならない）である。
English: They are also often outlandish words not used in the study of the fields of folklore and cultural anthropology, spread through cartoons or hearsay, and subject to the whims of fashion.
Japanese: また、漫画などで流布された、流行廃りの風説の類であり、民俗学や文化人類学などの、学問の机上にものらない、いい加減な言葉である。
English: During the Edo Period, ghost stories became very popular and fine pieces of literature, such as Ugetsu Monogatari, The Peony Lantern, and Yotsuya Kaidan, were created.
Japanese: 江戸時代にはには幽霊話が大流行し、雨月物語、牡丹灯籠、四谷怪談などの名作が作られた。
English: This is used today as a subject in genres ranging from the classics to new works, covering comical stories, novels, and dramas, and appears in various media formats.
Japanese: 現在も題材として古典から新作の題材として笑話・小説・劇などに用いられ、様々な媒体で登紹介される。
English: "Tokaido Yotsuya Kaidan (Tokaido Yotsuya Ghost Stories)" was first performed at a theater called Nakamura-za Theater in Edo on July 26, 1825.
Japanese: 1825年7月26日に江戸の中村座という芝居小屋で「東海道四谷怪談」が初公演された。
English: In Japan, people commonly have an image of a yurei as a woman without legs wearing a tenkan (triangle hood) over her disheveled hair and a white kimono (which samurai wore to commit harakiri in feudal Japan), and this is the most typical figure shown in theaters or haunted houses.
Japanese: 日本では、幽霊の描写として『乱れ髪に天冠（三角頭巾）、死装束の足がない女性』という、芝居やお化け屋敷などでの典型的な姿でイメージされることが多い。
English: This "typical Japanese-style yurei" derives from ukiyoe paintings of the Edo Period.
Japanese: この「日本型幽霊」は、江戸期に浮世絵の題材として描かれてから定着したものである。
English: It comes from a kabuki drama entitled "Yotsuya Kaidan," in which a yurei appears without legs for effect, according to "Wataruseken ha "machigai" darake (This World is Full of Errors)" published by Kawade shobo shinsha.
Japanese: 河出書房から出版された『渡る世間は「間違い」だらけ』によると、歌舞伎の舞台「四谷怪談」の演出で幽霊の足を隠して登場したものをルーツとしている。
English: Although an old saying claims that spirits of the war dead do not transform into yurei, many yurei of defeated Heike soldiers fleeing the enemy and yurei of soldiers killed in the two world wars are said to have appeared in the shape of the person at death.
Japanese: 「いくさ死には化けて出ない」との言い伝えもあるが、平家の落ち武者や大戦での戦死者のように、死んだときの姿のまま現れると言われる幽霊も多い。
English: Some believe that Okyo MARUYAMA first described a yurei without legs, but this is not correct.
Japanese: 「足のない幽霊を最初に書いたのは円山応挙」と言われることがあるがこれは俗説である。
English: In fact, a yurei without legs appeared as an illustration in a joruri-bon (book of joruri scripts) titled Kazan-in kisaki arasoi (Quarrel between the Empresses of Retired Emperor Kazan), which was written in 1673, before Okyo was born.
Japanese: 実際には、応挙誕生以前の1673年に描かれた「花山院きさきあらそひ」という浄瑠璃本の挿絵に、足のない幽霊の絵が描かれている。
English: However, the pictures of yurei drawn by Okyo seem to have been popular since the Edo Period and have influenced many subsequent painters.
Japanese: ただし、応挙の幽霊画は江戸時代から有名であったらしく、その後多くの画家に影響を与えたといわれている。
English: It is so named because it likes dark places and has a whitish, thin, slim body.
Japanese: 薄暗いところを好み、カラダが白っぽく、やせて華奢な姿をしていることから。
English: July 26 is the anniversary of the day on which Tokaido Yotsuya Kaidan, written by Nanboku TSURUYA, was first performed in 1825.
Japanese: 鶴屋南北作東海道四谷怪談が初演された文政8年（1825）7月26日を記念する日。
English: Variable Voltage Variable Frequency Control: this is the common name for electric cars, such as the early generation of electric cars having a function which produces sounds similar to the sound of yurei heard in kabuki or period dramas (a name familiar in the railway industry).
Japanese: 可変電圧可変周波数制御：初期の可変電圧可変周波数制御電車など、歌舞伎や時代劇における幽霊の効果音のような走行音（励磁音）を出す電車を指した俗称（鉄道関係の俗称）。
English: A model train: a common name for model trains having a motor in a car that otherwise would not have had it.
Japanese: 鉄道模型：貨車・客車・炭水車など、本来動力装置を持たないはずの車両に動力装置が付与された鉄道模型の俗称。
English: Therefore, it was often called 'Kadensho' until some time after the war, but the title 'Fushikadensho' is commonly used now.
Japanese: したがって、戦後しばらくまでは「花伝書」と呼ばれることが多かったが、現在では「風姿花伝」の書名を用いることが一般的。
English: Kadensho and Hachijo kadensho are written records on noh play, which were edited during the late Muromachi period.
Japanese: 花伝書（かでんしょ）、一名八帖花伝書（はちじょう-かでんしょ）は室町時代末期に編纂された能楽伝書。
English: Practical theories and information related to kuraidori (positional representation), tune, music, form, rhythm and costumes are integrated into volume two and beyond.
Japanese: 内容は巻二以下は位取り・調子・謡・型・囃子・装束などに関する実技的な理論や知識を集成する。
English: It is considered to have been written by Zeami, but in reality, it contains only a portion of a description on "Fushikaden."
Japanese: 世阿弥に仮託されているが、実際には『風姿花伝』の記述の一部が含まれているにすぎない。
English: It is considered to be reedition of useful information gathered from various written records that were popular back then besides "Fushikaden."
Japanese: 『風姿花伝』のほか、当時通行していた各種の伝書から有益な情報を取り集めて編集しなおしたものと思われる。
English: As it can be seen from the fact that publications by old typographic printing and woodblock printing were already available by the early Edo period, it is the most widely distributed written record on noh play of the modern era.
Japanese: 江戸時代初期ごろまでに古活字本・板本が版行されていたことからもわかるように、近世期を通じてもっとも流布した能伝書であった。
English: As noted above, compared to written records by Zeami and Zenchiku KONPARU it lacks an overall structure as well as philosophical depth, and it is a written work that is merely a collection of various information on noh play.
Japanese: 上記のように世阿弥や金春禅竹の伝書に比べれば全体的な構成を欠き、思想的な深みも見られず、雑多な能の知識を集成した書ではある。
English: On the other hand, however, it is extremely useful in accessing practical information when putting on an actual noh performance.
Japanese: その反面、実際に能を演ずる上での実際的な知識を得るためにはきわめて有意義である。
English: Therefore, the reason why it was widely received by various people from noh performers in Edo and Kyoto to their amateur disciples in local regions can be found in this point just mentioned above.
Japanese: 江戸や京都の能楽師から地方の素人弟子に至るまでひろく享受された背景には右のごとき事情が考えられる。
English: Because it had long been believed that it was a written work of genuine selections by Zeami, its authoritativeness was acknowledged during the Edo period.
Japanese: 長らく世阿弥真撰の書と信じられていたこともあって、江戸期には高い権威を認められていた。
English: However, it fell into disregard when Zeami's written records were discovered one after another during the Meiji period.
Japanese: しかし、明治時代に入って世阿弥伝書の発見が相次ぐとほとんど顧みられなくなった。
English: It is now highly regarded as a source of information on the noh performance techniques from the late medieval period to early modern period.
Japanese: 現在ではむしろ、中世後期から近世初期にかけての演能技法を知るための資料として高い価値を持つ。
English: A daruma is a doll or toy representing the sitting figure of Bodhidharma, the founder of the Zen, a sect of Buddhism, who is practicing Zen meditation; at the present time, it is widely popular as a lucky charm not only in the Zen sect, but also in different religious sects, across religions.
Japanese: だるま（達磨）は、仏教の1派である禅宗開祖の達磨の坐禅姿を模した置物、または玩具であり、現在では禅宗のみならず宗教、宗派を越え縁起物として広く親しまれている。
English: Daruma dolls are usually made of papier-mâché and the eyes are left blank on purpose when sold.
Japanese: 多くは張子（はりこ）で製作され、目の部分は書き入れずに空白のままに残す。
English: Traditionally, the purchaser paints in one eye, making some special wish, and when the wish is fulfilled, paints in the other eye.
Japanese: そして何らかの祈願を行い、祈願が叶うと目を書き入れるという習慣がある。
English: A prototype to a daruma doll is a tumble doll (okiagari-koboshi), which is weighted at the round bottom in a way that it returns to an upright position when tipped over.
Japanese: 玩具の1つに、底が丸く重心が低く作られていることによって倒しても起き上がる起き上がり小法師（不倒翁）という物がある。
English: This roly-poly doll which always stands up was compared to the anecdote of Bodhidharma's persistence during his nine-year Zen meditation of wall-gazing, after which the face of Bodhidharma was painted on the doll.
Japanese: その何度でも起き上がる様子が、達磨の面壁九年という坐禅をし続けた逸話に見立てられ、達磨の顔が描かれるようになった。
English: These characteristics of a daruma doll, such as 'standing up again' (okiagari) and 'stumbling seven imes but recovering eight' (nanakorobi-yaoki), gradually made it a lucky charm.
Japanese: そしてこの「起き上がり」「七転八起」と言う特性から、次第に縁起物とされるようになった。
English: In Japan, the origin of daruma dolls is said to be during the Edo period when they were introduced from China to the temples of the Obaku sect in Nagasaki.
Japanese: 日本では、江戸時代に中国から長崎の黄檗宗の寺院に伝来したのが起源とされている。
English: Basically, daruma dolls have been painted red from ancient times.
Japanese: だるまは古来より、赤色を基調とした塗装が行われることがほとんどであった。
English: This red coloring is derived from an old saying that Bodhidharma wore a red robe, but there are other sayings that the red color could dispel evil spirits, or that the god of smallpox who causes smallpox would hate the color of red.
Japanese: これは達磨が赤い衣を着ていたとされる事に由来するが、その他に、赤色には魔除けの効果があると信じられていた事や、疱瘡を引き起こす疱瘡神が、赤色を嫌うと信じられていた事からも由来しているのではないかとされている。
English: For these reasons, daruma dolls were given to children as a toy which had magical powers in order to protect them against smallpox and evil spirits.
Japanese: 以上の事から、だるまは疱瘡除け・魔除けの力がある玩具として子供に与えられた。
English: In recent years, these dolls have been produced in yellow, white, green, and gold besides red.
Japanese: なお近年では、赤色以外にも、黄色、白色、緑色、金色等の色を基調としただるまも製造されている。
English: As mentioned above, a purchaser paints in an eye of a daruma doll after the fulfillment of some special wish; however, daruma dolls are charms and objects of worship that require 'eyes-opening' (spiritual awakening) in the same manner as Buddhist images.
Japanese: 上述の通りだるまは、何らかの祈願が達成すると目入れをするが、だるまは縁起物、拝むものとしての側面を持っているために、仏像と同じく「開眼」する必要がある。
English: For this ceremony, making a wish, a prayer paints in one eye on the right (half-awakening), and when the wish is granted, color in the other eye.
Japanese: そのため、祈願者が願いを込めながら向かって右に目を入れ「半開眼」し、願いが叶ったらもう片目を入れる。
English: If the eyes of daruma dolls have been already painted in, the purchasers can not perform this ceremony, so that daruma dolls are sold with their eyes left blank.
Japanese: そのため、初めから開眼の済んでいるだるまではこの儀式が行えないために目を入れずに売られているのである。
English: On the other hand, however, there is a claim that the practice of making daruma without eyes is discriminatory against the blind, which could be said to be a misconception resulting from a lack of accurate knowledge about daruma dolls.
Japanese: しかし、一方で障害者差別に繋がるという主張があるが、だるまに関する正確な知識が流布していないことによる思い違いである。
English: At the present time, nonetheless, there are fewer chances to see people draw an eye into a daruma doll out in public due to this claim, and many daruma dolls are now sold with their eyes painted in beforehand.
Japanese: が、この主張に配慮し現在では公に目入れをする機会は減っており、最初から目が入っているだるまも多く売られるようになって来ている。
English: Daruma dolls are different in size, shape, color, and material, depending on areas where they are produced, and are often known by the name of where they are produced.
Japanese: だるまは生産される地域によって形状、彩色、材質などが異なっており、地域名を冠した名称によって区別されることが多い。
English: Takasaki Daruma dolls are also referred to as 'Joshu Daruma,' which is not an official name (Takasaki Daruma is a registered regional organization trademark).
Japanese: 「上州だるま」とも呼ばれているが公式名称ではない（高崎だるまが地域団体商標に登録されている）。
English: This often makes them a standard used to compare with other daruma dolls produced in other areas.
Japanese: そのシェアの高さから、他の地域のだるまとの比較基準にされることが多い。
English: Takasaki Daruma dolls have a red body in the shape close to a globe with a white sunken face, on which broad beards and eyebrows are painted.
Japanese: 球に近い形状の赤色の胴体にくぼんだ白い顔がついており、そこに豪快な髭と眉毛が描かれている。
English: Gold vertical stripes are drawn on the part of the robe, and some letters are written on the front center part of the doll and on either side of the face.
Japanese: 衣服には金色の縦縞が描かれ、正面中央や顔の左右には文字が記入される。
English: As custom-ordering enables some letters adjust to the taste of the customer to be written on these part of a daruma doll, such as an wish, Takasaki Daruma dolls are used as symbols or gifts of good luck.
Japanese: 特注でここに祈願内容など独自の文字を入れることもできるため、祈願のシンボルや祝儀の贈物として利用されている。
English: For example, Takasaki City produces almost all of 'Election Daruma' dolls, in whose left eye a politician paints in black ink when running for an election, and at the victory in the right eye in black ink.
Japanese: たとえば、立候補をした際に左目玉を墨で入れ、当選後に右目玉を墨で入れる「選挙だるま」のほとんどが高崎で生産されている。