nntsuzu/KFTT huggingface dataset:
English: The spectators were supposed to see the races either in umabadono (a place in the middle of a horse riding ground) facing rachi (wooden fence) or in the tent set up on both sides of umabadono.
Japanese: 観客は埒を望む中央の建物を馬場殿とし、その左右に幄舎を設置してそのいずれかで観戦することになっていた。
English: In addition, there was a rule called mokenouma (an advantage horse) that after the first match the loser started first while the winner started a little later.
Japanese: なお、2番目以後は負方が先行して出発する儲馬（もうけのうま）となり、勝方は一遅（いちじ）分時間を置いて後から出発する追馬と呼ばれた。
English: Winter festivals often indicate the festivals celebrated during the three months (November, December and January) from ritto (the first day of winter in the Japanese calendar) through risshun (the first day of spring in the Japanese calendar).
Japanese: 立冬から立春にかけての3ヶ月間（11月・12月・1月）に行われるものを指す場合が多い。
English: Winter festivals have both the elements of the harvest festival that autumn festivals have and the elements of the Kinen-sai festival (prayer service for a good crop) that spring festivals have.
Japanese: 冬祭りは秋祭りが持つ収穫祭的要素と春祭りが持つ祈年祭的要素の両方を併せ持っている。
English: Originally, as October (in the old lunar calendar) was supposed to be a taboo month, the harvest festival was celebrated in November (in the old lunar calendar) when the season changes from autumn to winter in the Japanese calendar.
Japanese: 元々10月(旧暦)は忌月とされたために月が変わって冬に突入した11月(旧暦)に収穫祭を行った。
English: Shinobu ORIGUCHI perceived the period which is from autumn through the next spring as the period that all souls including the ones of human beings are renewed by holding the ceremony of tamafuri (shaking of souls).
Japanese: 折口信夫は秋から翌春にかけてのこの時期を魂振を行って人間を含めた全ての魂が更新されるための時期として捉えた。
English: And he claimed that autumn festivals, winter festivals and spring festivals were originally a series of festivals (harvest, renewal of souls and prayer for a good crop), and then autumn festivals and spring festivals were separated, and the rest became winter festivals.
Japanese: 秋祭り・冬祭り・春祭りは元々一続きの祭り（収穫・魂の更新・祈年）であったのが、秋祭りと春祭りが分離して残りが冬祭りとなったと説く。
English: In addition, Kunio YANAGITA claimed that, in Japanese festivals, November in the old lunar calendar was regarded as important because November when the most winter festivals were cerebrated includes the winter solstice and it indicates the turning point going towards spring.
Japanese: また、柳田国男は冬祭りの中心となる旧暦11月が冬至を含む時期であり春に向かう転機であることを指摘し、日本の祭りは本来旧暦11月を重要視したと説く。
English: In Shiji-sai festivals (festivals of four seasons) of jingikan (officer of the institution for dedicating to religious ceremony) in the Imperial Court, the festivals of Ainame (the festival offering newly-harvested grains to deities), Tamashizume (mass or ceremony for the repose of a soul) and Niiname (festival of consumption of the new grains) in November in the old lunar calendar were defined as winter festivals.
Japanese: 朝廷の神祇官の四時祭では、旧暦11月の相嘗祭・鎮魂祭・新嘗祭が冬祭りとされた。
English: Though the festivals of Tsukinami (festival of the months), Chinka (fire prevention festival) and Michiae (banquet of the road) in December were not peculiar to winter, they were celebrated as winter festivals.
Japanese: 翌月の月次・鎮火・道饗も冬特有の祭事ではないものの、冬祭りとして挙行されている。
English: And in the winter festivals of the present day, yudate or boiling water kagura (sacred music and dancing performed at shrine) whose origin dates back to shimotsuki kagura (November kagura) is often performed at the Tamashizume no matsuri festival.
Japanese: 鎮魂祭の際に行われた霜月神楽を祖とする湯立・神楽などが行われることが多い。
English: The Senmen Hokekyo Sasshi or Senmen Koshakyo is a collection of fan-shaped articles decorated with sutras that has been passed down by Shitenno-ji Temple in Osaka.
Japanese: 扇面法華経冊子（せんめんほけきょうさっし）または扇面古写経（せんめんこしゃきょう）は、大阪市・四天王寺に伝来した装飾経の遺品。
English: Fan-shaped pieces of 'ryoshi' writing paper (the fan face), decorated with pictures, are folded in two, and joined along the fold to other pieces to make a booklet, into which sutras from Buddhist scripture such as the Hokekyo (Lotus Sutra), Muryo gikyo (Sutra of Immeasurable Meanings) and Kanfugenkyo (Samantabhadra Contemplation Sutra) were copied.
Japanese: 扇形に切った料紙（扇子扇面）に絵を描いて2つに折り、折り目で貼り合わせて冊子とし、そこに法華経・無量義経・観普賢経の経典の経文を書写したものである。
English: The Senmen Hokekyo Sasshi is an example of the decorative sutras that were popular in the Heian period (794-1185), especially during the period of cloistered rule (1086-c.1185), but the use of fan-shaped ryoshi and the deep colors are unique.
Japanese: 平安時代とくに院政期に流行した装飾経の遺品のひとつであるが、扇形の料紙を使用し、濃彩の下絵を用いる点は他に類をみない。
English: The pictures depicted everyday scenes in the lives of nobles and common people and were painted in the traditional Yamato-e style.
Japanese: 下絵の題材は、貴族や庶民の生活などから採られ、大和絵の手法で描かれている。
English: It is a highly valued object of art as well as being the only existing example of the painting style of paper fans which were much cherished at the time.
Japanese: 美術品としての価値が高く、当時愛玩された紙扇の絵の様式を伝える唯一の遺品でもある。
English: The sutras were written in the Japanese style of handwriting, probably by several people, and provide valuable data on calligraphy.
Japanese: 書風は和様で数人の手になるものとみられ、書跡資料としても貴重である。
English: As a form of genre painting, the Senmen Hokekyo Sasshi, like 'emaki' illustrated scrolls, are also important illustrated documents containing valuable information.
Japanese: 風俗画としては、絵巻物とならび、きわめて貴重な情報が織り込まれた重要な図像資料でもある。
English: The Northern Sung Dynasty period in China is one of the most important periods in the field of biblography, since there was a shift from scroll style books to booklets, with Japan being influenced by such a shift in the Heian period.
Japanese: 中国の北宋の時代は書誌学のうえでは、巻子本から冊子本への転換のなされた一大画期であったが、その影響は平安時代の日本におよんでいる。
English: The Senmen Koshakyo was created against such a background, but it was unique in that it used paper fans as ryoshi.
Japanese: 扇面古写経の制作もその流れの延長上にあるが、紙扇を料紙とした点がユニークである。
English: Each ryoshi is a natsu-ogi or Kawahori-ogi folding fan with a side edge of about 25.5cm, an upper arc of about 49.5cm and a lower arc of about 19cm, and the booklets are bound in a style known as deccho-so.
Japanese: 縦の辺が約25.5センチメートル、上弦幅約49.5センチメートル、下弦幅約19センチメートルの夏扇（蝙蝠扇）の料紙を粘葉装（でっちょうそう）の冊子に仕立てたものである。
English: The Kyodai (title) was written in gold and one of the Jurasetsunyo (the Japanese name for the 10 demonesses mentioned in the Lotus Sutra) dressed in a kimono was drawn on the front page.
Japanese: 表紙には金字の経題のほか、十羅刹女を一体ずつ和装（女房装束）で描いている。
English: A solution of powdered mica powder is applied to the paper, which is then decorated using a marbling technique, with grains, slices and pieces of gold or silver leaf randomly sprinkled over each ryoshi, and on such highly decorated paper, elegant Fuzokuga (pictures of manners and customs) in the Yamato-e style were hand painted in deep colors and then sutras written.
Japanese: 料紙はいずれも雲母（きら）を引き、墨流しや金銀の切箔（きりはく）、野毛、砂子（すなご）などを散らしてきわめて多様に意匠をこらしたもので、そこに濃彩の優美な大和絵風俗画を手彩色の下絵として描き、その上に経文を書写する。
English: Since the pictures were painted only on one side of the ryoshi, the opened pages show one side of pictures and one side of sutras only.
Japanese: なお、下絵は料紙の片面のみに描かれているので、見開き一開ごとに下絵のある面と経文のみの面が交互にあらわれる。
English: They are unusual in that the sutras are copied onto paper which was produced in large amounts for fans.
Japanese: この冊子は、当時大量につくられた扇の地紙をそのまま写経用紙として転用した珍しい例である。
English: For this reason they are appreciated more for their historical and informational value as Senmen-ga (illustrated fans) or Yamato-e than as decorative sutras.
Japanese: 装飾経としてよりむしろ、扇面画や大和絵としての文化史的ないし資料的価値が高いと評されるゆえんである。
English: The Sutras were written with black ink, in Chinese characters arranged in a radial fashion in the fixed form of 12 lines per page (24 lines on two adjacent pages), with each line composed of 17 characters.
Japanese: 経文は、一行17字、一頁12行（見開き24行）に定型化された書式に漢字で放射状に墨書されている。
English: They were, however, of elaborate craftsmanship in that when the characters were written on a blue or black background, they were traced with kindei (gold paint) or half a character was written in kindei and the other half in black ink.
Japanese: ただし、彩色下絵の青色や墨の部分の上に字を書く場合は、墨書の上を金泥でなぞったり、1字を半分ずつ金泥と墨とで書き分けたりするなど、手のこんだ書写がなされている。
English: It is believed that the Senmen Hokekyo Sasshi was created when Buddhist scriptures began to be beautifully decorated with the spread of belief in the Lotus Sutra, which preached 'Nyonin Jobutsu' (attainment of buddhahood by women) and 'Shakyo Jobutsu' (attainment of buddhahood by copying of sutras).
Japanese: 扇面法華経冊子の成立は、「女人成仏」、「写経成仏」を説く法華経信仰がさかんとなるなかで、経典そのものも美しく飾りたてられるようになったことによるものとみられる。
English: It originally consisted of 10 volumes; eight volumes of 'Myohorenge-kyo (Hokekyo)' and two volumes of Kaiketsu-kyo (sutras read before and after the main sutra) made up of the 'Muryo Gikyo,' to be read before the main sutra, and 'Kanfugenkyo (Bussetsu Kanfugenbosatsu Gyoho-kyo)' (Samantabhadra Contemplation Sutra) to be read after the main sutra, with the number of fan paintings estimated to be 115 in total.
Japanese: 元来は「妙法蓮華経（法華経）」8巻と開結経（かいけつきょう）2巻、すなわち、本経に先だって説かれる開経（かいきょう）の「無量義経」とむすびをなす結経（けちきょう）の「観普賢経（仏説観普賢菩薩行法経）」の合わせて10帖で一具をなし、扇紙は総計115枚であったと推定される。
English: Today, of the series, the first, sixth and seventh volume of 'Hokekyo' and the two Kaiketsu-kyo books are kept at Shitenno-ji Temple in Osaka, the complete version of 'Hokekyo' volume 8 is kept at the Tokyo National Museum, and five fragments are kept separately at various facilities, meaning a total of 59 faces and five cover paintings remain in existence.
Japanese: 一具のうち、今日では四天王寺（大阪市）に「法華経」巻一、六、七および開結経2帖の計5帖が伝存するほか、東京国立博物館が「法華経」巻八の完本1帖を所蔵、他に断簡5葉が各所に分蔵され、合計59面、表紙絵5面を数える。
English: On the ryoshi, the way of life of nobles, their servants and common people as well as natural landscapes were depicted in woodblock prints, ink brush painting or a combination of both, and then colored.
Japanese: 貴族やそれに仕える男女、庶民の風俗や自然の景物を木版で刷ったり、図様を墨描きしたり、あるいは、両者を組み合わせたのちに彩色を加えて料紙としている。
English: Hidekazu AKIYAMA, an art historian, classifies the Ogi-e into Class A (27 faces), Class B (18 faces), Class C (9 faces) and a combination of Classes B and C (5 faces), based on consideration of the painting techniques.
Japanese: 美術史家の秋山光和は、作画技法の検討によりA類（27面）、B類（18面）、C類（9面）、さらにB類とC類の複合的な技法によるもの（5面）に分類している。
English: Class A is color applied to a mica solution undercoat; Class B is mica solution applied to black ink woodblock prints and then colors added; and Class C is gold and silver leaf scattered on mica, then black ink woodblock prints are added and colored.
Japanese: A類は雲母（きら）引き下地の上に彩色したもの、B類は木版墨摺りの下絵に雲母引きを施し、彩色したもの、C類は雲母引きに金銀の箔を散らしたうえで木版で下絵を墨摺りし彩色したものである。
English: The paintings are of a dynamic style with a few characteristics of court paintings, while belonging to the post-Kara-e (Chinese style painting) heyday of Yamato-e.
Japanese: 画風は、唐絵の影響から脱した盛期の大和絵のなかでも、宮廷派の特徴を有する動的な様式に属している。
English: The color tone is not as heavy as in "Genji Monogatari Emaki" (Illustrated handscrolls of the Tale of Genji) and "Heike-nokyo" (sutras dedicated by the Taira family), but is delicate, prismatic and full of grace.
Japanese: 色調は、同時代の『源氏物語絵巻』や『平家納経』ほどの重厚さはないが、優美かつ多彩であり、品格がある。
English: The lines are fine and rather rigid because of the woodblock, but most of the handwritten lines are delicate and flowing.
Japanese: 描線は細かく、木版の影響もあってやや硬質であり、肉筆は繊細または流麗なものが多い。
English: While nobles' faces are expressed with the typical 'Hikime Kagibana' style (dashes for eyes, hooks for noses), servants and the everyday life of common people are vividly depicted.
Japanese: 貴族の表情は類型化された引目鈎鼻であるが、雑仕や婢女らの姿は市井の風俗もまじえて、生き生きと描き出されている。
English: Some researchers point out that the subjects of the paintings have nothing to do with the contents of the sutras but others insist that they are directly or indirectly connected.
Japanese: 画題は経文とは関係がないという指摘もある一方、直接的ないし間接的に関連があるとの指摘もなされている。
English: But even the latter consider that it is difficult to understand all the connections between the paintings and the sutras clearly.
Japanese: ただし、後者においても、それをすべてにわたって明瞭に解明することは困難だとしている。
English: As fans are mostly used in summer, there are more paintings which depict scenes associated with coolness, such as wells, waterside and snow, than those which depict scenes associated with warmness; cherry blossoms, maples and pine trees are also often depicted.
Japanese: 元来、扇は夏季に使用されることが多いことから、暖かさを感じさせる風景に比較すれば井戸や水辺、雪など涼しさを感じさせる風景が多く、また桜や紅葉、松なども多く描かれる。
English: Shizuichi SHIMOMISE thinks that some subjects are from literary works, including "Ise Monogatari" (The Tales of Ise).
Japanese: 下店静市は、『伊勢物語』などの文学作品からも画題がとられているとしている。
English: The majority of the paintings depict people, but those kept by Shitenno-ji Temple are unusual in that they are Kacho-ga (paintings of flowers and birds), providing valuable data.
Japanese: 表現対象としては、人物が大部分であるが、四天王寺所蔵のものには花鳥画が例外的に散見され、その伝統の上でも貴重な資料となっている。
English: In addition, men and women of all ages, ranks and vocations are depicted, and so the paintings also provide valuable historical data in that sense.
Japanese: また、描かれる人物は、老若男女や貴賤を問わず、多種多様な職業の人びとを対象としており、その点でも歴史資料としてきわめて貴重なものである。
English: The most famous paintings are two pieces (the sixth and eleventh fans of "hokkekyo" vol. 7) held by Shitenno-ji Temple depicting the market in Heian-kyo (the ancient name of Kyoto), in which a woman wearing an apron is selling various commodities including fish, fruits, Japanese melons, chestnuts and cloths in a small 2-meter wide shop and another woman wearing an ichime-gasa (a kind of woman's cap with a shade) and uchigi (ordinary kimono) is walking before the shop.
Japanese: なかでも名高い遺品は、四天王寺所蔵の平安京の市場の風景を描いた二葉（法華経巻七扇6、同扇11）で、間口一間の小さな店では前掛けをした市女によって魚、果物、瓜、栗、布など多種多様な商品を売られており、その前を市女笠（いちめがさ）をかぶり、袿をまとった女性が通行しているようすが描かれている。
English: Another painting that shows the everyday life of people at that time (the first fan of "hokekyo" vol. 7) features women gathering around a well, with a village woman without an uchigi and carrying a wooden bucket on her head, leading her naked child by the hand, and another woman dressed for travel in an uchigi, quenching her thirst by drinking from the well bucket.
Japanese: また、井戸端に集う女性たちを描いたもの（法華経巻七扇1）があり、そこには曲物を頭に乗せながら裸の子どもの手をひく袿なし姿の里の女、つるべで水を汲みのどをうるおす袿を着た旅姿の女が描かれ、当時の地方の庶民生活がしのばれる。
English: Furthermore, the subjects of the paintings include children's play and seasonal images, such as two girls comparing grasses they have gathered in a game of kusa-awase (the eighth fan of "hokekyo" vol. 7), a boy trying to catch a little bird (the ninth fan of "hokkekyo" vol. 7) and the persimmon harvest (the 11th fan of "hokkekyo" vol. 6), as well as a scene of a court lady admiring the autumn leaves and a serving girl collecting chestnuts (the 10th fan of "hokkekyo" vol. 1), a little girl and a court official reading a letter (the ninth fan of "hokkekyo" vol. 1) and even a scene of a prostitute and a puppet player (or sorcerer) singing Imayo (a popular style of song in the Heian period) as offerings to guardian deity of travelers, Doso-jin, probably to comfort the spirit.
Japanese: さらに、草合わせをする2人の少女（法華経巻七扇8）、小鳥捕りをする少年（法華経巻七扇9）、柿もぎのようす（法華経巻六扇11）など子どもの遊戯や風物詩も画題となっており、紅葉を愛でる女房と栗拾いの婢女を描いた場面（法華経巻一扇10）、文を読む公卿と童女（法華経巻一扇9）、遊女と傀儡子（または男巫）が今様を歌って道祖神に報宴し、神霊を慰めているのではないかと推定される場面などを描いたものもある。
English: Each of the Jurasetsunyo is depicted as a lady, but only the one in the cover painting of 'Muryo gikyo' is depicted as a young girl wearing Kazami (formal costume).
Japanese: なお、十羅刹女はいずれも女房姿で描かれるが、「無量義経」の表紙絵のみは汗衫（かざみ）姿の童女形で示されている。
English: The most widely accepted theory is that, judging from the painting style and the way of life depicted, the Senmen Hokekyo Sasshi was probably created in the middle of the 12th century.
Japanese: 制作時期については、絵画様式や風俗などの点から12世紀中頃とする説が有力である。
English: It used to be believed that it was dedicated at the time of the ''Shitennoji Nyoho-kyo Kuyo" (mass for departed souls) held on October 14, 1188, and which is mentioned in entries in FUJIWARA no Kanezane's diary "Gyokuyo" and Tunefusa YOSHIDA's diary "Kikki", but later researchers such as Mitsukazu AKIYAMA and Taka YANAGISAWA discovered that it was probably created at the wish of a noble lady.
Japanese: かつては、『玉葉』や『吉記』の記事にある、文治4年（1188年）9月15日の四天王寺如法経供養の際に奉納されたものとする説もあったが、秋山光和、柳沢孝（やなぎさわたか）らの研究により、高貴な女性の発願になる可能性が高いとされた。
English: Today, it is most widely believed that the Senmen Hokekyo Sasshi was devoted in 1152 by Kayano-in FUJIWARA no Taishi, the Empress of Emperor Toba.
Japanese: 鳥羽天皇の皇后であった高陽院藤原泰子により仁平2年（1152年）に奉納されたものとする説が今日では有力である。
English: In any case, the reserved calligraphy of the sutras and the colorful pictures of customs and landscapes side by side in one work clearly demonstrate that nobles at the end of the Heian period celebrated relgion in a variety of ways.
Japanese: いずれにしても、謹厳な書体の写経と彩り豊かな風俗・景物が扇のなかで一体となった品であり、平安時代末期の貴族の信仰生活のなかに種々の趣味的要素が盛りこまれていたことを端的に示す一例といえる。
English: In addition to those listed above, there is a fragment containing one line and a fragment containing two lines, both of which are held by individuals.
Japanese: 他に、1行のみの断簡、2行のみの断簡が存在し、それぞれ個人蔵となっている。
English: Michikiri is a folk custom practiced on roads or crossroads at the entrance to villages (or regions).
Japanese: 道切り（みちきり）とは、村（地域）の出入り口にあたる道や辻で行われる民俗習慣のひとつ。
English: In Japanese villages, it has been believed since ancient times that evil spirits and plague-spreading gods come and go across the 'nora', the border between mountains and village, or the 'sakai', the border between villages.
Japanese: 日本の村落においては、村と山の境界にあたる野良（ノラ）、あるいは村と村の境（サカイ）には古くから魔や疫病をはやらせる神などが出入りすると考えられていた。
English: During michikiri, where the road enters the village, Doso-shin (traveler's guardian deity) is enshrined, sacred shimenawa ropes (or sometimes snakes made of straw) are hung and 'zori' or 'waraji' sandals are offered to the gods in order to prevent or drive away evil spirits.
Japanese: 出入り口にあたる道には魔を防いだり、追い払うために道祖神が祀られたり、注連縄（または藁で作った蛇）を張ったり草履や草鞋が供えるなどの道切り行事が行われていた。
English: Although, the period when the event is held varies regionally, it is usually either held regularly or temporarily.
Japanese: なお、この行事の行われる時期については、地域によって異なるが定期的に行われるか、時により臨時に行われることがある。
English: Muromachi culture was a Japanese culture of the Muromachi period in which the Muromachi bakufu (Japanese feudal government headed by a shogun) was established in Kyoto by the Ashikaga clan.
Japanese: 室町文化（むろまちぶんか）とは足利氏によって京都に室町幕府が開かれた時代の日本の文化。
English: Following the culture of the Northern and Southern Courts, Muromachi culture evolved as Kitayama culture at the time of the third Shogun Yoshimitsu ASHIKAGA, and matured as Higashiyama culture at the time of the eighth Shogun Yoshimasa ASHIKAGA.
Japanese: 南北朝文化ののち、3代将軍足利義満の時代に北山文化が栄え、ついで8代将軍足利義政の時代に東山文化として成熟した。
English: Muromachi period was the time in which the warrior class politically overwhelmed court nobles, and its culture largely developed.
Japanese: 室町時代は武家が公家を圧倒し、文化的にも大きく成長をとげていった時代である。
English: Since many high-ranking warriors including powerful Shugo (military governor), especially Seii Taishogun (literally, great general who subdues the barbarians) Ashikaga clan, lived in Kyoto, they frequently came in touch with the traditional culture of court nobles.
Japanese: 征夷大将軍足利氏を中心に有力守護をはじめとする上層武士が京都に多く居住し、伝統的な公家文化とさかんに接触した。
English: As the culture of the continent including Zen Buddhism was introduced by the trade with foreign nations, the warrior class, even after being influenced by it, blended the strength and simplicity of its own culture with the traditional beauty of court noble's, and created a new culture of the warrior class.
Japanese: また海外との交易によって禅宗をはじめとする大陸文化が伝えられると、武家はその影響を受けながらも、みずからの力強さ、簡潔さと公家文化の伝統美を融合させ、新しい武家文化を開化させた。
English: Meanwhile, as the social status of the common people rose with the development of commerce and industry, the merchant class and peasants emerged as supporters of culture; the broad cultural interaction was encouraged, and local or plebeian characteristics of culture were enhanced.
Japanese: いっぽう、庶民の社会的地位が高まり、商工業の発展にともなって町衆や農民が文化の担い手として登場したことから、文化の面でも幅広い交流がすすみ、庶民性や地方的特色がいっそう強まった。
English: Sarugaku (form of theater popular in Japan during the eleventh to fourteenth centuries), Kyogen (farce played during a Noh play cycle), and Renga (linked verse) became popular in both urban and rural areas; tea drinking customs also spread in the form of Chanoyu (the tea ceremony).
Japanese: 猿楽・狂言・連歌などは都市・農村問わず愛好され、喫茶の風習も茶の湯として広がった。
English: These performing arts, which were more or less characterized by the concept of harmony or "Ichimi doshin" (working together with one mind), reflected the ordinary lives of the warrior class at the time, and were perfectly fit for the everyday life of people in So (a community consisting of peasants' self-governing association) as well as of urban citizens.
Japanese: これらはいずれも多かれ少なかれ団らん的な、あるいは「一味同心」的な性格をもつ芸能・芸道であったが、当時の武士の日常に対応したものであり、惣における庶民の日々の生活、さらに都市民の生活にも合致したものであった。
English: One was Kitayama culture established at the end of the fourteenth century, and the other was Higashiyama culture at the end of the fifteenth century.
Japanese: 14世紀末に興起した北山文化と15世紀末に興った東山文化がそれである。
English: This means that the warrior class emerged as a leading figure not only in politics and economy, but also in the field of culture.
Japanese: 武家が政治・経済のみならず文化の面でも時代を代表する存在となったことを示している。
English: This trend spread widely to local regions in the Sengoku Period (Period of Warring States) in the sixteenth century, resulting in the creation of a national culture.
Japanese: その流れは16世紀の戦国時代に広く地方へと普及していき、やがて国民文化として発展していくこととなった。
English: It was a culture that was established during the time of Yoshimitsu ASHIKAGA; it was full of vitality in that the mixture of various cultures dramatically developed such that the culture of the continent mixed with the Japanese culture, or the culture of court nobles mixed with the culture of the warrior class; however, Kitayama culture had a vulgar aspect as well.
Japanese: 大陸文化と日本文化、公家文化と武家文化など諸文化の融合がおおいに進展するなど活気に満ちてはいるが一方では粗野な側面をもつ足利義満の時期の文化である。
English: The third Shogun Yoshimitsu ASHIKAGA built a magnificent villa in Kitayama, Kyoto; an architectural style of a golden pavilion constructed there is a blend of traditional Shinden-zukuri style (the palace style characteristic of Fujiwara period architecture) and Zen temple style, embodying a distinctive feature of this period; hence the name "Kitayama culture."
Japanese: 3代将軍義満は京都の北山に壮麗な山荘をつくったが、そこに建てられた金閣の建築様式が、伝統的な寝殿造風と禅宗寺院における禅宗様を折衷したものであり、時代の特徴をよくあらわしているので、この時代の文化を北山文化とよんでいる。
English: It was a culture that was established at the time of Yoshimasa ASHIKAGA; it retained simplicity and an air of austere elegance of the spirit of Zen, based on the spiritual keynote of grace, quiet beauty, and elegant simplicity of the traditional culture.
Japanese: 禅の精神にもとづく簡素さ、枯淡の味わいと伝統文化における風雅、幽玄、侘（わび）を精神的基調とする足利義政の時期の文化である。
English: Muromachi culture, which flowered as Kitayama culture, and whose artistic quality was adopted in people's lifestyle, took root as a new original culture.
Japanese: 北山文化で開花した室町時代の文化は、その芸術性が生活文化のなかにとり込まれ、新しい独自の文化として根づいていった。
English: After the Onin War, the eighth Shogun Yoshimasa built a villa in Higashiyama, Kyoto (Kyoto Prefecture), where he constructed a silver pavilion after the example of his grandfather Yoshimitsu.
Japanese: 8代将軍義政は、応仁の乱後、京都の東山(京都府)に山荘をつくり、そこに祖父義満にならって銀閣を建てた。
English: The culture in this period was symbolized by the villa in Higashiyama, so it was called Higashiyama culture.
Japanese: この時期の文化は、東山山荘に象徴されるところから東山文化とよばれる。
English: After the Onin War, as the regional autonomy was enhanced, the income from local territories dried up.
Japanese: 応仁の乱を契機として、地域が自立性を強め、それにつれて、地方の所領からの収入が途絶えた。
English: Some of the impoverished court nobles or priests in Kyoto left their places devastated by war, went down to prosperous local cities, and asked local daimyo (feudal lords) and kokujin (local lords) for help.
Japanese: 困窮する京都の公家や僧侶のなかには、戦乱で荒廃する京都を離れ、繁栄する地方都市へ下り、その地の大名や国人に頼るものがあらわれた。
English: For example, Kanpaku (Chancellor) Norifusa ICHIJO went down to his family's territory, Hatanosho district in Tosa Province (present-day Shimanto City, Kochi Prefecture), and later his descendants became Sengoku daimyo (Japanese territorial lord in the Sengoku period) as Tosa Ichijo clan.
Japanese: そのなかには、関白一条教房が家領であった土佐国幡多荘（現在の高知県四万十市）に下向して、子孫が土佐一条氏として戦国大名化したという例もある。
English: Norifusa's father Kanera ICHIJO, the greatest intellectual figure of that day, also went down to Nara and subsequently to Mino Province.
Japanese: 教房の父で当代随一の文化人一条兼良も奈良、つづいて美濃国に下向している。