nntsuzu/KFTT huggingface dataset:
English: The pattern of arabesque has been used from ancient times influenced by China, and there are hosoge-karakusa (arabesque with imaginary five-petal flowers) and hoomaru-karakusa (arabesque with round designed phoenixes) which are based on imaginary animals and plants.
Japanese: 唐草紋様は中国の影響で古くから用いられ、想像上の動物や植物を図案化した宝相華唐草や鳳凰丸唐草がある。
English: Arabesque patterns such as matsu-karakusa (arabesque with pine needles), kiri-karakusa (arabesque with paulownia leaves) and sakuraso-karakusa (arabesque with primrose flowers) originates from yusoku-monyo and are now popular and widely accepted as Japanese style patterns.
Japanese: 松唐草、桐唐草、桜草唐草などは、有職紋様から発して和風紋様として広く用いられ親しまれている。
English: The tatsuwaku-mon, which is also called 'tachiwaki' and used often for dresses for a court noble, is a design in which a pair of symmetrical mountain-shaped curves line vertically and the distance between the pair of the curves is wide in the center and narrow at both ends.
Japanese: 立涌紋は「たちわき」とも言い、公家装束に多く用いられ、相対した山形の曲線を縦に連ね、向き合った中央はふくれ、両端はすぼまった形の図案のこと。
English: It is classified into kumo-tatsuwaku (mountain-shaped curves with clouds, botan-tatsuwaku (shaped-shaped curves with peony flowers and leaves), fuji-tatsuwaku (shaped-shaped curves with wisteria flowers and leaves), sakura-tachibana-tatsuwaku (shaped-shaped curves with cherry and tachibana blossoms) and others, depending on the patterns drawn in the center.
Japanese: 中央に描いた紋様によって雲立涌、牡丹立涌、藤立涌、桜橘立涌などがある。
English: A pattern of waves in blue ocean which originates from a pattern in the dress of 'seigaiha,' which had been transmitted to the court music of Japan, is especially famous.
Japanese: 宮廷雅楽に伝承されている「青海波」の装束紋に由来する青海波は特に有名である。
English: In addition to these, some round patterns such as hoo no maru (a round designed phoenix), hagi no maru (a round designed bush clover) and ume no maru (a round designed plum blossom) were often used for the samurai class.
Japanese: このほか鳳凰の丸、萩の丸、梅の丸などの丸紋も公家好みとして多用された。
English: Affected by the culture of the Zen sect of Buddhism which emphasized originality, the head of a school of tea ceremony each had a favorite pattern carved on printing blocks and had the original karakami pasted in the tea room.
Japanese: 茶道の家元は、独自性を重んじる禅宗文化の影響で、それぞれの家元の好みの紋様を版木に彫らせて、独自の唐紙を茶室に張らせた。
English: The paulownia patterns are the largest in number among karakami patterns and were exclusively used by the Imperial Family during the Heian period, but later they were donated as an imperial gift to court nobles and samurai families and changed diversely.
Japanese: 桐紋は、唐紙紋様の中でも最も多く、平安時代は皇室の専用であったが、のちに公家や武家にも下賜されて多彩に変化した。
English: The hana-ogiri (a large paulownia with flowers) favored by Hideyoshi TOYOTOMI, the Taiko (father of the Imperial advisor), is a design in which a flower stalk freely bends in both directions and the shapes of leaves are drawn with contours.
Japanese: 太閤豊臣秀吉の好んだ花大桐は、花茎が自由な曲線で左右に曲がり、葉形に輪郭がある。
English: This is due to the difference in the method to heap up whitewash by using model paper, while the hana-ogiri of Taiko Hideyoshi used a printing block.
Japanese: これは太閤秀吉の花大桐が版木を用いたのに対して、型紙を用いて胡粉（こふん）を盛り上げた技法の違いである。
English: In addition, the paulownia patterns include various designs such as kawari-giri (a variational paulownia), Koetsu-giri (Koetsu's paulownia), Korin-giri (Korin's paulownia, also known as komori-giri (a bat-like paulownia)), usagi-giri (a rabbit-like paulownia), Hotei-giri (a Hotei-like paulownia) and otafuku-giri (an otafuku-like paulownia).
Japanese: このほか茶道の好みの桐紋には、変わり桐、光悦桐、光琳桐（蝙蝠桐）、兎桐布袋桐、お多福桐などさまざまな意匠がある。
English: The pine needle design is a pattern suiting the taste of persons participating in tea ceremony, that originates from a convention established by the head of a school of the tea ceremony who covered his tea room garden with pine needles from the first use of the fireplace in the middle of November to around March.
Japanese: 松葉図案も茶道好みの紋様で、茶道の家元では十一月中旬の炉開きから三月頃まで、茶室の庭には松葉を敷く習わしがあり、このしきたりに由来した図案である。
English: In the fusin-an (a tea room in the residence of the head of the Omotesenke (the house of Omotesen)), senke-matsuba (a pine needle pattern for exclusive use of the Senke family; which also known as kobore-matsuba) is favored, while the Urasenke (the house of Urasen) favors shiki-matsuba (covering pine needles).
Japanese: 表千家の不審庵には千家松葉（こぼれ松葉ともいう）、裏千家には敷松葉が好まれている。
English: In addition to these, the taste of Omotesenke includes karamatsu (larch needles), teiji-kei (T-shape), kazaguruma-okiage (placed pinwheels) and fukiage-giku (blown-up chrysanthemums).
Japanese: このほか表千家好みには、唐松、丁字形、風車置き上げ、吹き上げ菊などがある。
English: For the taste of Urasenke, such designs as kobana-shippo (a pattern consisting of the circle divided into quarters by arcs with small flowers), takara-shippo (a pattern consisting of circle divided into quarters by arcs with treasures), hoso-uzu (fine whirls) and arabesque with pine needles were innovated.
Japanese: 裏千家好みには、小花七宝、宝七宝、細渦、松唐草などの図案を工夫している。
English: The Mushanokoji Senke school especially favors kichijo-so (a plant native to Japan, a member of the lily family; scientific name, Reineckea carnea), and the 'tsubo-tsubo' (a pattern of pots) in which pot-shaped earthenware patterns are scattered, are used by the three Senke families in common.
Japanese: 武者小路千家では、吉祥草を特別に好みとし、壺型の土器を散らした「つぼつぼ」は三千家共通に用いられている。
English: The patterns favored by the head of a school of tea ceremony are mostly plant patterns and the geometrical patterns such as well-ordered yusoku-monyo are not seen.
Japanese: 茶道の家元での紋様は、ほとんどが植物紋様で、整然とした有職紋様のような幾何紋様は見あたらない。
English: The spirit of the tea ceremony is in the world of 'wabicha' (literally, poverty tea style; known as the tea ceremony) which places value on spiritual elevation that stands aloof from the everyday world so, it is unsuitable for the well-ordered yusoku-monyo.
Japanese: 茶道の精神は、俗世間を超越した精神的高揚を重んじる「侘茶」の世界であり、秩序正しい有職紋様はそぐわない。
English: Those include daidai-un (quite a large clouds) (大大雲), kage-kumo (shadows of clouds) (影雲), oni-gumo (ogre-like clouds) (鬼雲) and ogashira-gumo (clouds like tassels at the top of flag poles) (大頭雲), and there are also unkaku-mon (a pattern consisting of clouds and cranes) and ryun-mon (a pattern consisting of dragons and clouds) with animals arranged on them.
Japanese: 大大雲、影雲、鬼雲、大頭雲などで、これに動物を配した雲鶴紋、竜雲紋などがある。
English: The pattern of daki-botan (a peony flower held in two leaf stalks) of Higashi Hongan-ji Temple is used as its symbol, and there are daki-botan tatsuwaku (symmetrical mountain-shaped curves with peony flowers each of which are held in two leaf stalks) and roku shinozasa (six bamboo leaves).
Japanese: 東本願寺の抱き牡丹は同寺院の象徴として用いられ、ほかに抱き牡丹立涌、六篠笹などがある。
English: Although the mitsubishi-aoi was exclusively used by the Tokugawa clan, the Chionin Temple was allowed to use it because it was a family temple of the real mother of Ieyasu TOKUGAWA.
Japanese: 三菱葵は徳川氏の独占であるが、知恩院は徳川家康の生母の菩提寺であるため使用が許されていた。
English: The mallow patterns commonly use futaba-aoi (a two-leaf mallow), and one of the famous futaba-aoi is that of the Kamo-jinja Shrine used as a crest for a shrine (a shrine crest).
Japanese: 一般の葵紋は双葉葵を用い、神社の代表的なものとして加茂神社が神紋の双葉葵を用いている。
English: Many patterns for the samurai class are those with a well-ordered sense of formality in the genealogy of yusoku-monyo such as kumo-tatsuwaku (mountain-shaped curves with clouds), takarazukushi-ichimatsu (checkers with various treasures), kogara-fushicho (small patterns of butterflies lying flat) and kiku-kikko (tortoiseshell patterns with chrysanthemums).
Japanese: 武家好みには、雲立涌、宝尽し市松、小柄伏蝶、菊亀甲のような有職紋様の系譜の整然とした堅い感性のものが多い。
English: Besides, other patterns such as karajishi (an artistic portrait of a lion), wakamatsu no maru (roundly designed young pine branches), kumo ni hoomaru (clouds with roundly designed phoenixes) and kiri-gumo belong to the genealogy of the designs used by court nobles and temples.
Japanese: また唐獅子や若松の丸、雲に鳳凰丸、桐雲なども公家や寺院で用いられた図案の系譜に属する。
English: As for the taste of merchant families, there are highly decorative patterns of the Rinpa School such as Korin-komatsu (Korin small pines), kagehinata-giku (shadows of chrysanthemums in the sum) and shidarezakura (weeping cherry blossoms on sprays) were favored as well as such modest patterns as mamegiri (small paulownia) and koume (small plum blossoms).
Japanese: 町屋好みは、豆桐や小梅のようにつつましさを持ちながらも、光琳小松、影日向菊、枝垂れ桜のような琳派の装飾性の高い紋様を好んだ。
English: The patterns of the Rinpa School became diversified as sophisticated karakami patterns by kami-shi in Kyoto, strongly influenced by the art village of Saga.
Japanese: 琳派紋様は、京の唐紙師たちが嵯峨の芸術村の強い影響を受けて、洗練された唐紙紋様として多様化した。
English: The genealogy of the patterns of the Rinpa School includes edamomiji (sprays of maple leaves), maple leaves and streams, tatsuta-gawa (the Tatsuta-gawa River), Koetsu-giri (Koetsu paulownia), Koetsu-cho (Koetsu butterflies), araiso (a rough shoreline), Korin-onami (Korin billow), Korin-giku (Korin chrysanthemum) and Korin-komatsu (Korin small pine branch).
Japanese: 琳派紋様の系譜には、枝紅葉、紅葉と流水、竜田川、光悦桐、光悦蝶、荒磯、光琳大波、光琳菊、光琳小松などがある。
English: A geometrical pattern, consisting of a straight line, a curve, a curl, a circle and others, express a variety of simple to complicated patterns and has been often used for kyo karakami.
Japanese: 幾何紋様は直線、曲線、渦線、円などで構成され、単純な紋から複雑な紋まで多彩で、京唐紙にも多く用いられている。
English: While kyo karakami used high quality paper such as Echizen hoshogami and torinoko paper, the 'Edo karakami' used Nishinouchi-gami, Hosokawa-gami, uda-gami (uda paper) and so on.
Japanese: 京から紙が越前奉書紙や鳥の子紙など高級な紙を用いたのに対して、「江戸から紙」は、西の内紙、細川紙、宇陀紙などを用いた。
English: Nishinouchi-gami is a yellowish brown thick paper made of pure kozo in the Nishinouchi, Naka-gun, Hitachi Province in the upper reaches of the Kuji-gawa River, it is sturdy and can be preserved for a long period.
Japanese: 西の内紙は、常陸国の久慈川上流地域の那珂郡の西の内で漉かれた、純楮紙で黄褐色の厚紙で、丈夫で保存性が良い紙である。
English: Under the protection of the Mito clan, it was highly rated as a special product of Hitachi Province during the Edo period, and in the "nihon sangai meibutsu zue" (a guidebook for special products, consisting of pictures and explanations for them) the Nishinouchi-gami was regarded as the best paper during the Edo period as well as Echizen hosho, Mino naoshi-gami (high quality paper made in Mino Province) and Iwakuni hanshi (paper made in Iwakuni, Suo Province).
Japanese: 水戸藩の保護の下、常陸特産の紙として江戸時代には高い評価を受け、『日本山海名物図絵』には、越前奉書・美濃直紙・岩国半紙と並んで、西の内紙は江戸期の最上品の紙とされている。
English: Hosokawa-gami originates from the Hosokawa hosho (heavy Japanese paper of the best quality in Hosokawa village, Kii province) at the foot of Mt. Koya and was actively made in the Chichibu and Hiki-gun in the Musashino in Edo period.
Japanese: 細川紙は、もともと紀州高野山麓の細川村で漉かれた、楮紙の細川奉書を源流としており、江戸期に武蔵野の秩父・比企・の両郡で盛んに漉かれた。
English: Among Hosokawa-gami, the type made in Ogawa town, Hiki-gun is especially famous and flourished and earned the word of 'pikkari sen-ryo' (a sunny millionaire), which means that 'if the weather is good, you can make a large profit in a day,' and was used as a material paper to process an account book or a fusuma paper for townspeople.
Japanese: 細川紙では、特に比企郡小川町が有名で、「ぴっかり千両」という言葉があり、「天気さえ良ければ一日千両になる」と言われたほど繁栄し、江戸町人の帳簿用や襖紙加工の原紙として利用された。
English: Its technique has been transmitted by the association for the preservation of techniques for making Hosokawa-gami until now and the technique of making Hosokawa-gami was designated as an important intangible cultural property in 1978.
Japanese: 細川紙技術保存会によって今日まで技術が伝承され、昭和53年（1978年）に、細川紙の製紙技術は重要無形文化財に指定されている。
English: Characteristically Hosokawa-gami is made only from mulberry paper trees (no other materials are mixed) the same as Nishinouchi-gami and was called kito (a shortened form of kizuki-karakami (karakami made only from the bark of trees)) (生唐).
Japanese: 細川紙も西の内紙と同様に純楮の生漉き（一切他の原料を混ぜない）が特徴で、生唐（生漉き唐紙の略）と称した。
English: Uda-gami is a thick paper made of kozo in Yoshino, Yamato Province originally called kuzu-gami (Kuzu paper), and a merchant of paper of the Uda-gun district began to sell the paper made in the Kuzu-go area, Yoshino-gun district at the market in Osaka and a wholesale store specialized in Yoshino paper sold it all over Japan, and consequently, the name of Uda-gami became widespread.
Japanese: 宇陀紙は、大和の吉野の産の紙で、もともと国栖紙と呼ばれた楮（こうぞ）の厚紙で、吉野郡国栖郷で漉かれたものを、宇陀郡の紙商が大坂市場に売り出し、吉野紙専門の紙問屋があって全国に売り広められて、宇陀紙の名が広まった。
English: It is famous for its extreme thinness as 'Yoshino paper' and in the "Seventy-one workmen's competitions of waka" there is a waka that says 'myself to be forgotten, why? We never exchange marriage vows as thin as Nara paper' and the thinness of Nara-gami, that is, nobe-gami (a high quality tissue) of Yoshino, was called 'yawayawa' (very soft one) elegant and loved by noble women.
Japanese: 「吉野紙」としては極薄様の紙で名高く、『七十一番歌合』に、「忘らるる我が身よ　いかに奈良紙の薄き契りは　むすばざりしを」とあり、奈良紙すなわち吉野の延紙（鼻紙）の薄さを「やはやは」と、みやびやかに呼んで、公家の女性たちはその薄さを愛した。
English: Also, making use of its properties, it was used as 'an oil filter' and 'a lacquer filter' and was famous all over Japan.
Japanese: また、その特性を活かして「油こし」や「漆こし」に利用されて全国にその名が知られていた。
English: Uda-gami originates from the Sugihara-gami (Sugihara paper) (a moderately thin kozo paper which was distributed mostly in the samurai society in medieval times and imitated the Sugihara-gami of the originator in the Harima Province), and was distributed greatly in Edo and used for Edo karakami.
Japanese: 宇陀紙は、吉野ので漉かれた杉原紙（中世の武士社会に最も流通した中葉の楮紙で、本家播磨の杉原紙を各地で模造した）を源としており、江戸でも多く流通し江戸からかみに用いられた。
English: During the Edo period, the population was over one million and had a heavy demand for paper, which increased rapidly due to the prevalence of karakami and successive big fires, and consequently, a paper making area in the Kanto region played an important role to provide paper for daily use to the residents of Edo.
Japanese: 江戸期の人工は100万を越えて紙の需要も大きく、唐紙の普及と大火が相次いだことで、唐紙の需要も急拡大して、関東の紙漉き郷は、江戸市民に日用の紙を供給する重要な役割を果たした。
English: For the pattern printing of Edo karakami, a method of dyeing cotton with models was often adopted as well as woodblock printing.
Japanese: 江戸からかみの紋様絵付けは、木版摺りと共に更紗型染めが多く用いられた。
English: While woodblock printing, in which paint is applied on printing blocks through a silk sieve, has a soft taste, printing (print-type dyeing) with dyes with models gives a somewhat cold impression from it's hard, sharp, and clear patterns, but because it enables combining patterns together, many makers adopted a casing type of multicolored printing in which usually three or four model papers were used.
Japanese: 木版に絹篩（ふるい）を通して絵具を移して摺る木版摺りは、やわらかい風合いがあるが型染めの捺染では、硬く鋭い鮮明な紋様がやや冷たい感じとなるが、型合わせができるため、多くは三枚から四枚の型紙を用いて染める多色摺りの追っかけ型を用いた。
English: In Edo, printing blocks were often destroyed by big fires, so printing with model papers developed from the necessity to urgently making karakami.
Japanese: 江戸では、しばしば大火に見舞われ版木を消失することが多く、応急にからかみのを作る必要に迫られて、型紙の捺染を用いたものが発展した。
English: One of the characteristics of Edo karakami design can be said that the chic Edo-komon (fine patterns utilized in Edo) which is suitable for printing, is often used.
Japanese: 江戸からかみのデザインは、捺染に適した小粋な江戸小紋が多用されたのが特徴のひとつといえる。
English: Fusuma-shoji referred to shoji on which torinoko paper was pasted for finishing the surface, patterns were drawn by richly colored mineral paints on an applied gold foil over it or the pictures were drawn in colors or with Sumi directly on the surface of the torinoko paper.
Japanese: 襖障子は、表面仕上げに鳥の子紙を貼り、その上に金箔を貼りその上から極彩色の岩絵の具で絵柄を描くか、鳥の子の地肌に直接彩色あるいは墨で絵を描いたものを指した。
English: The karakami-shoji referred to shoji on which plane colored paper or 'karakami' printed patterns with woodblocks were pasted as the finish form.
Japanese: 唐紙障子は、無地色紙あるいは木版で紋様を摺った「から紙」を仕上げに貼った障子を指している。
English: Karakami was made in the following process; sealed up by pasting the mixture of whitewash (a white pigment made of white lead and a powder made by baking shells was used after the Muromachi period) and glue, and mica powder was printed on it by using printing block of patterns such as arabesque and tortoiseshells.
Japanese: 唐紙は、胡粉（鉛白を原料とした白色顔料で、室町期以降は貝殻を焼いた粉末を用いた）に膠をまぜたものを塗って目止めをした後、雲母の粉を唐草や亀甲などの紋様の版木で摺り込んだものである。
English: The domestically-produced karakami in the early days was made with hishi (also known as ganpishi) printed 'ka-mon' (flower patterns) and was written as 'karakami' (からかみ or から紙).
Japanese: 国産化された初期の唐紙は、斐紙（雁皮紙）に「花文」を施したもので、「からかみ」「から紙」と表記された。
English: In the "Shinsen Kamikagami" (Newly edited Kamikagami) fusuma paper was written as 'karakami' and there is a description that 'karakami paper was mostly called toshi. However, since this is confused with Mobenshi (Chinese paper named after Moshin - 毛晋), it came to be called karakami.'
Japanese: 『新選紙鑑』には、襖紙のことを「からかみ」とし、「から紙多く唐紙といふ。しかれども毛辺紙にまぎるるゆへここにから紙としせり」とある。
English: In the latter part of the Edo period, fusuma paper pasted on karakami-shoji was called watoshi, improved by introducing various ideas and was mass-produced.
Japanese: 唐紙障子に貼る襖紙を江戸時代後期には、和唐紙と称してさまざまに改良工夫されて量産化されている。
English: Watoshi was made of materials consisting 70％ of mitsumata and 30％ of kozo during the latter part of the Edo period and was characterized by a large sheet.
Japanese: 和唐紙は、江戸後期では三椏七分、楮三分の原料で漉かれ、大判を特徴としている。
English: According to the 'newly agreed matters by the paper maker trade that domestically produced Chinese paper' in 1807, its standard size was about 0.6 m wide and about 1.23 m long.
Japanese: 文化四年の「和製唐紙　紙漉屋仲間　新規議定之事」によると、幅二尺長さ四尺五分が標準寸法としている。
English: Around this time, a large sheet called ganseki-toshi (rock-tapped look karakami), which was so-called sanroku-ban with about 0.9 m wide and about 1.8 m long, started to be made.
Japanese: このころに岩石唐紙という、幅三尺長さ六尺という、いわゆる三六判の大判も初めて漉きはじめられている。
English: It was made in a so-called 'pouring style' as follows; pour a fluid containing paper material into a reed for paper making, disperse it evenly with hands, and dry the wet paper on a screen under the sun.
Japanese: 漉き方はいわゆる「流し込み式」で、紙料液を漉き桁に流し込んで、手で均等に分散させ、簀に乗ったままの湿紙を天日で乾燥させる。
English: Dried on the screen like this, slits of the screen make wrinkle patterns, which can add a particular taste to karakami.
Japanese: このように簀のまま乾燥させると、簀の目が皺紋をつけて、独特の風合いをもった唐紙となる。
English: Generally, after draining water out by filtration, the paper on the screen is turned upside down on the paper bed, only the screen is gently removed by peeling, and a freshly made wet paper sheet is laid on the paper bed one by one.
Japanese: 一般には水を濾し終わったら、簀のうえに紙層を載せたたまま、紙床にうつ伏せにして、静かにめくるように簀だけをはがし、漉き上げた湿紙を紙床に重ねて行く。
English: Taihei-shi is a paper that further improved the wrinkle patterns of ganseki-toshi by introducing new ideas and make them more remarkable.
Japanese: 岩石唐紙の皺紋をさらに工夫改良して、皺紋をより目立たせたものが、泰平紙（太平紙）である。
English: When pouring materials during paper making, the fibers are arranged in such a way that the sheet goes beyond the four corners of the screen, and the wrinkle patterns are made bigger through the process that the water-drained wet paper is repeatedly stretched from both sides and pushed in a back and forth direction to squeeze it, and is dried.
Japanese: 漉くときの流し込みの時に、四隅に簀よりはみ出すように漉きあげ、水を濾し終わった湿紙の時に、左右に引っ張ったり、前後に縮めたりを繰り返して、皺紋を大きくつくり乾燥させる。
English: After it has dried, it shows clearer embossed patterns than the wrinkle patterns of ganseki-toshi.
Japanese: 乾燥すると岩石唐紙の皺紋よりもくっきりとしたエンボス上の凹凸ができる。
English: In the "the origin and the history of rakusui-shi production," there is a description; 'When this was first made in 1843, it did not have a name yet. When shown to the Shogun Ienari, he ordered that the name be taihei-shi (peace paper) because it was made in the period of peace.'
Japanese: 『楽水紙製造起源及び沿革』によると、「天保14年（1843年）初めてこれを製し、将軍家斉公の上覧をかたじけなふせしおり、未だ紙名なきを以て、泰平の御代にできたればとて、泰平紙とこそ下名せられたれ」とある。
English: This taihei-shi was used for fusuma-shoji not only with wrinkle patterns, but also with dyes and watermarks.
Japanese: この泰平紙は、皺紋だけでなく染色したり、透かし文様を入れてふすま障子用に用いられた。
English: The process of manufacture is mentioned in "The explanations for the exhibits of the domestic industrial exposition 1877" as 'pouring the materials of paper into a frame for paper making (a reed for paper making), draw patterns such as dragon, bird and plants, take the frame out and, when water has dropped to some extent, shake the screen for six or seven times to make the wrinkle patterns.'
Japanese: 泰平紙の製法について『明治十年内国勧業博覧会出品解説』によると、「漉框（漉桁）に紙料を注ぎ入れてから、竜・鳥・草花などの画紋を描き、引き上げて水分がやや滴下したときに、簀を六～七回振り動かして皺紋をつくる。」とある。
English: As opposed to the taihei-shi characterized by wrinkle patterns, so-called sanroku-ban paper applied patterns by putting seaweed during the arrangement of the material fibers, which is as large as one sheet of fusuma-shoji, is called rakusui-shi.
Japanese: 皺紋を特徴とする泰平紙に対して、海藻を漉き込んで独特の紋様をつけた、ふすま障子一枚の大きさのいわゆる三六判の紙を楽水紙という。
English: It was Bunpei TAMURA, the second head of the Tamagawa-do Store of the Tamura family, who made taihei-shi for the first time, and rakusui-shi was also subsequently made by the Tamura family for the first time.
Japanese: 泰平紙を創製したのは、玉川堂田村家二代目の文平であったが、楽水紙もやはり田村家の創製であった。
English: Rakusui-shi made by Kozo TAMURA, the fifth head of the Tamagawa-do Store, was a large sheet of about 0.97 m wide and about 1.88 m long.
Japanese: 玉川堂五代目田村綱造が漉いた楽水紙は、縦六尺二寸、横三尺二寸の大判であった。
English: He improved the production process from poured water-disposing paper making to a style of fixed-paper making by attaching a cord to the frame of the reed to make handling easier with a pulley, spreading gauze on a screen and mixing panicled hydrangea (an adhesive material).
Japanese: 漉桁の枠に紐をつけ滑車で操作しやすくし、簀には紗を敷き、粘剤のノリウツギを混和して、流し込みから留め漉き風の流し漉きに改良している。
English: In addition, he added the processes to dye and print patterns using woodblocks and as a result, it received a high evaluation as fusuma paper and its demand increased rapidly.
Japanese: さらに染色し、紋様を木版摺りすることも加え、ふすま紙として高い評価を得て需要が急増した。
English: As opposed to the rakusui-shi mainly made of mitsumata, the other popular rakushui-shi made of recycled paper was produced in Osaka, which was called shin-rakusui-shi (new rakusui paper).
Japanese: 三椏を主原料とした楽水紙にたいして、大阪では再生紙を原料とする大衆向けの楽水紙が漉かれるようになり、新楽水紙と称された。
English: In accordance with a rapid increase of demand for reconstruction and the loss of the plates for woodblock printing by fire due to the Great Kanto Earthquake in 1923, shin-rakusui-shi became the mainstream.
Japanese: 大正12年（1923年）の関東大震災で、復興需要の急増と、木版摺りの版木が焼失したのに伴い、新楽水紙が主流となった。
English: In 1937, the association of the rakusui-shi paper industry of Tokyo was organized, the number of the members reached thirty-five, and the annual production of the sheets of paper reached four-millions and five-hundred thousands in 1940.
Japanese: 昭和12年（1937年）には、東京楽水紙工業組合が組織され、昭和15年（1940年）には組合員35名、年産450万枚に達していた。
English: After the Pacific War, it declined because of the rise of Echizen torinoko and multicolored fusuma paper made by rotary presses.
Japanese: 太平洋戦争後には、越前鳥の子や輪転機による多色刷りのふすま紙に押されて衰滅した。
English: Karakami means a surface paper printed patterns and many materials are pasted for groundwork of fusuma-shoji.
Japanese: から紙は、紋様を刷り込んだ襖障子の上張り（表張り）のことで、襖障子には多くの下貼りが行われる。
English: There are various processes for the groundwork such as hone-shibari (fixation of the frame to mend warps), mino-bari (pasting layers of paper sheets to achieve cushioning), beta-bari (pasting a sheet on the mino-bari layers to push them with putting paste on the backside fully), fukuro-bari (pasting the sheets of half-size paper to provide both tension and softness with putting paste only on the sides of the sheets) (uke-bari - floating paste) and kiyo-bari (paste thin high-quality paper for backing when the final surface paper is thin), which lead to a fusuma-shoji made by pasting Japanese paper carefully several times.
Japanese: 下貼りの工程は、骨縛り、蓑貼り、べた貼り、袋貼り（浮貼り）、清貼りなどの工程があり、種々の和紙を幾重にも丁寧に張り重ねてできあがる。
English: Hone-shibari' is pasted at first on a framework by putting glue on the frame and applying Japanese paper of strong fibers such as handmade Japanese paper, cha-chiri (a brown tissue) and kuwa-chiri (a mulberry tree tissue).
Japanese: 「骨縛り」は、組子に最初に張り付けるもので、組子骨に糊を付けて、手漉き和紙・茶チリ・桑チリなどの繊維の強い和紙を、障子のように貼る。
English: It plays an important role to tighten ribs and avoid rickety by making strong fibers of Japanese paper shrink after spraying water on it.
Japanese: 霧吹きをすると和紙の強い繊維が収縮して、組子骨を締め付けてガタがこないようにする重要な役目を担っている。
English: Uchitsuke-bari' is also called honeshibari-oshibari and has a blocking effect on transparency to avoid the ribs being seen as well as overlap pasting to strengthen hone-shibari further.
Japanese: 「打ち付け貼り」は、骨縛り押し貼りともいわれ、骨縛りをより強固にするための重ね張りとともに、骨が透けないようにする透き止めの効果もある。