nntsuzu/KFTT huggingface dataset:
English: A great number of netsuke (miniature carving attached to the end of a cord hanging from a pouch) have been made on a similar subject in which women and sea creatures are engaged in sexual intercourse since the 17th century.
Japanese: 17世紀より、類似したテーマの海洋生物と女性が性行為に及ぶ題材で、多くの根付が彫られている。
English: Called tentacle rape, it is recognized today as a scene in cartoons and comics popular among pornography fans.
Japanese: また現代においても、触手責めという呼称でポルノファンに好まれるアニメや漫画でのシチュエーションのひとつとして認識されている。
English: Shirouneri is a Japanese specter and a type of Tsukumo-gami (artifact spirit) described in "Hyakki Tsurezure Bukuro" (One hundred bags in idleness), a collection of specters illustrations, by Sekien TORIYAMA, and it is written 白溶裔, 白容裔 or 白うねり.
Japanese: 白溶裔、白容裔、白うねり（しろうねり）は、鳥山石燕の妖怪画集『百器徒然袋』にある日本の妖怪で、付喪神の一種。
English: It is drawn as a waterfall like figure made with a rag, and according to its explanation, it is a transformed old dish towel.
Japanese: ぼろ布でできた竜のような姿で描かれており、解説文によれば古い布巾が化けたものとされる。
English: It is a specter of Sekien's creation, and he parodied the name from a character's name, 'Shiroururi', in "Tsurezure gusa" (Essays in Idleness) by Kenko YOSHIDA.
Japanese: 石燕の創作による妖怪であり、名前は吉田兼好の『徒然草』に登場する人物「しろうるり」をもじって名づけられたものである。
English: The books about specters published in recent years often contains an explanation that old cleaning rag or dish towel transforms into this specter and attacks humans with unpleasant mucus and emitting an offensive odor, making people faint.
Japanese: 近年の妖怪関連の書籍では、古い雑巾や布巾がこの妖怪に変化し、人間を襲い、体を覆う不快な粘液と全身から放つ悪臭で人を気絶させるという解説がしばしば見られる。
English: However the description originated from tale of monster of old cleaning rag called 'Revenge of old cleaning rag', told in "Tohoku Kaidan no Tabi" (Trip to the scary stories in Tohoku Region) by Norio YAMADA, a novelist.
Japanese: しかし、これは小説家・山田野理夫の著書『東北怪談の旅』で語られている古雑巾の怪異譚「古ぞうきんの仇討ち」が由来とされる。
English: The book describes that a maidservant killed feudal retainer of domain in Iwate Prefecture and when the maidservant tried to flee, old cleaning rag in the house leaped at the maidservant's face, suffocated her to death.
Japanese: 同書では岩手県の藩士を下女が殺して逃げようとしたところ、家の古雑巾が下女の顔に飛びつき、窒息死させたとある。
English: Skeleton woman is a specter described in "Konjaku Gazu Zoku Hyakki" (Continued Illustrations of the Many Demons Past and Present), a collection of specters illustrations, by Sekien TORIYAMA.
Japanese: 骨女（ほねおんな）は、鳥山石燕の妖怪画集『今昔画図続百鬼』にある妖怪。
English: According to an explanation in Sekien's "Konjaku Gazu Zoku Hyakki", there was a story called 'Otogi bauko' that a skeleton of old female carries a chochin (Japanese paper lantern) with peony design and make a trip to a man's home, whom she loved before her death, and sleeps with the man.
Japanese: 石燕による『今昔画図続百鬼』の解説文によれば、「御伽ばうこ」なる話に、歳を経た女の骸骨が牡丹の柄の入った提灯を持ち、生前恋していた男の家に通って男と交わる話がある、と述べられている。
English: This is a Kaidan (Ghost Stories) called "Peony Lantern" that is included in "Otogi Boko" (Hand Puppets) by Ryoi ASAI and the story describes female ghost, Iyako.
Japanese: 即ちこれは、浅井了意の著書『伽婢子』に収められている怪談『牡丹灯籠』の女の亡霊・弥子を描いたものである。
English: According to "Otogi Boko", a man called Shinnojo HAGIWARA met a beautiful woman, Iyako, in Gojo Kyogoku, Kyoto (current Kyoto Prefecture) and had an affair every night but one night, when neighboring old folk peeked into the house, he saw a strange sight that Shinnojo and skeleton embracing each other.
Japanese: 『伽婢子』によれば、京の都・五条京極（現・京都府）で、萩原新之丞という男が美女の姿の弥子と出会い、毎晩のように情事を交わすが、ある晩に隣りの老人がそれを覗き見ると、それは新之丞と骸骨が抱き合っているという奇怪な場面だったという。
English: When he was about to meet a disaster, a female appears in front of the man and guided him back to his home.
Japanese: 灯りもなくて闇夜の中で遭難しかけたところへ、1人の女が現れて家まで案内してくれた。
English: Arriving home, he looked to the female to thank her, but the face was a skeleton.
Japanese: しかし、家に着いてから礼を述べようと戸口に立つ女を見ると、その顔は骸骨だったという。
English: Norio YAMADA's "Tohoku Kaidan no Tabi" (Trip to the scary stories in Tohoku Region) also describes a skeleton woman in Kaidan (Ghost Stories) of Aomori Prefecture.
Japanese: また山田野理夫の著書『東北怪談の旅』にも、青森県の怪談として骨女という名の妖怪の話が登場する。
English: In Ansei era, there was a female and those around her told her how ugly she was, but after death, she came out and walked around town in skeleton form as she had good skeletal figure.
Japanese: これは安政時代、周囲から醜いといわれていた女が、死後は骸骨の容姿が良いので、人々に見せるために町中を骸骨の姿で歩き回ったという。
English: Besides being illustrated on the game cards produced during the Edo period and Taisho period, they appear in stories in children's books of ghosts.
Japanese: 江戸時代から大正時代にかけて作られたお化けかるたなどに姿が見られるほか、子供向けの妖怪関連の書籍に記述が見られる。
English: It is most commonly drawn as a lantern split hosizontally in half with the opening as the mouth from which a long tongue is sticking out with either one or two eyes in the top part of the lantern.
Japanese: 古い提灯が上下にパックリと割れ、その割れた部分が口となって長い舌が飛び出し、提灯の上半分には一つ目ないし二つの目があるのが一般的な姿である。
English: While it is a very well-known ghost, there are hardly any concrete legends associated with this ghost, and Kenji MURAKAMI, a specialist on ghosts, describes it as a ghost that only exists in drawings.
Japanese: 大変有名な妖怪である反面、具体的な伝承はほとんど残されておらず、妖怪探訪家・村上健司はこれを絵画上でのみ存在する妖怪としている。
English: Some say that this is a ghost created for children and does not exist in popular legends.
Japanese: 民間伝承にある妖怪ではなく、子供向けに創作された妖怪とする説もある。
English: In a book by Shigeru MIZUKI, a ghost cartoonist, it is described as having the powers to suck out a soul and that it sometimes frightens a person and sucks away the soul of the person, but there is no mention of primary references.
Japanese: 妖怪漫画家・水木しげるの著書には、霊を吸い取る力があり、人を驚かしてその魂を吸い取ることもあるとの記述が見られるが、一次出典となる古典などの資料の名は挙げられていない。
English: In folklores, a lantern ghost is more often described as a strange flame of okurichochin (flame of lantern that leads people to strange places) and of other lanterns rather than a vessel.
Japanese: 伝承上においては提灯の妖怪は、器物としてよりもむしろ、送り提灯や提灯火のように怪火として伝わっていることの方が多い。
English: Among classical ghost illustrations, "Oiwa san" in "Hyaku Monogatari (A Hundred Ghost Stories)" by Hokusai KATSUSHIKA and "Kamiya Iemon Oiwa no Baukon" by Kuniyoshi UTAGAWA are the known prints of lantern ghosts.
Japanese: 古典の妖怪画においては、葛飾北斎の『百物語』にある「お岩さん」や、歌川国芳の『神谷伊右エ門於岩のばうこん』などが知られる。
English: These illustrate "Lantern Oiwa"in the Kabuki production of "Yotsuya Kaidan Ghost Story"in which a woman named Oiwa from Yotsuya is killed by Iemon, and her spirit attaches itself to a lantern and causes mysterious phenomena.
Japanese: これは怪談『四谷怪談』において、四谷の女性・お岩が伊右衛門に殺され、そのお岩の霊が提灯に乗り移って怪異を現すという、歌舞伎の演出でも見られる「提灯お岩（ちょうちんおいわ）」を描いたものである。
English: "Burabura" in "Hyakki Tsurezure Bukuro", a collection of ghost prints by Sekien TORIYAMA, is described as the ghost of a fire fox by the author, but it is drawn as a lantern, and so there is a view that it is a kind of a lantern ghost.
Japanese: また鳥山石燕の妖怪画集『百器徒然袋』にある不落不落は、石燕による解説文では狐火の妖怪とされているが、画図では提灯として描かれているために提灯お化けの一種だとする説もある。
English: Soroban Bozu or Soroban Kozo is a ghost whose stories are told in Tanba Province (Kyoto Prefecture).
Japanese: 算盤坊主（そろばんぼうず）または算盤小僧（そろばんこぞう）は、丹波国（京都府）に伝わる妖怪。
English: This ghost frightens people by making sounds as if someone was using an abacus in a quiet place such as under a tree along a deserted road.
Japanese: 人の気配のない道端の木の下などで、そろばんをはじくような音をさせ、人々を脅かす。
English: When a person walks towards the sound, it stops but then the sound starts coming from another place, and the ghost is said to be never to appear in front of a human being.
Japanese: 人間が音の方へ近づくと音は消え、別の場所から音を出し、人前に姿を現すことはないという。
English: In Warouji, Nishi betsuin-mura village, Funai-gun county (currently Kameoka-shi City), it is said that if you walk near the Seiko-ji Temple in Warouji late at night, the ghost would appear under a Japanese nutmeg tree near the temple, and true to his name, it would appear as a Buddhist monk busily using an abacus.
Japanese: 船井郡西別院村笑路（現：亀岡市）では、夜中に笑路の西光寺の近くを通ると、寺のそばにあるカヤの木の下に姿を現すとされ、その名の通り坊主の姿の男が木の下で盛んに算盤を弾いているという。
English: A young Buddhist monk is said to have committed suicide by hanging himself from that tree when he made a mistake in calculating with abacus and was reprimanded by the chief monk.
Japanese: その寺では、計算を間違えて和尚に叱られた坊主が、その木で首を吊って自殺したと言われいる。
English: It is also said that a young boy appears under a tree in the grounds of Susano-jinja Shrine next to the Seiko-ji Temple between midnight and one in the morning and practices an abacus.
Japanese: また、この西光寺の隣の素盞嗚神社でも、毎晩午前0時か1時頃、境内の木の下に少年の姿が現れて算盤を弾き出すという。
English: A legend has it that this boy was the Buddhist monk named Eishu BANNAN who founded the Seiko-ji Temple, and that soroban bozu is this monk studying hard at night without being noticed by anyone when he was young.
Japanese: 一説によれば、この少年は西光寺の開山萬安英種という和尚で、幼い頃に夜中に人知れず勉学に励んでいた姿だとされる。
English: When a young man called Lord Sukeki HINO (First Rank) enjoyed talking with his friends over sake till late at night, something lightened suddenly behind a folding screen and there was a sign of a person.
Japanese: 日野一位資枝卿という人物が若い頃、仲間たちと共に夜更けまで酒を飲みつつ世間話を楽しんでいたところ、屏風の後ろが急に明るくなり、人の気配がした。
English: When he looked at the back of the screen, a red monk stood in a fire and disappeared while they watched him with suspicion.
Japanese: 屏風の裏を覗くと、燃え上がる炎の中に真っ赤な法師が立っており、周囲が怪しむ中で姿を消してしまった。
English: A researcher of specters, Katsumi TADA, said that it was a specter similar to zashiki warashi (a child ghost which is supposed to bring good fortune to the house or building it appears in) which is famous as a specter in the Tohoku region.
Japanese: 妖怪研究家・多田克己はこれを、東北地方の妖怪として知られる座敷童子に類するものとしている。
English: When an old man finished fishing and was about to return in the sea near Johencho, Minamiuwa-gun (Ehime Prefecture), he saw a light on the seashore.
Japanese: 南宇和郡城辺町(愛媛県)の海で、ある老人が漁を終えて帰ろうとしたところ、海岸に灯りが見えた。
English: The old man ran away in a flurry, while Akabozu walked away to the sea without doing any harm to him.
Japanese: 老人は慌てて逃げ出したが、赤坊主は特に危害を加えることもなく、沖へ歩き去っていったという。
English: The term "Mitsuba-aoi," in many cases, refers to the crest design of the "Maru ni Mitsuba-aoi" (three leaves of hollyhock in a circle), which indicates the Tokugawa clan.
Japanese: 通常「三つ葉葵」といえば徳川氏の「丸に三つ葉葵」の紋を指すことが多い。
English: Aoi-mon is designed in the motif of a futaba-aoi (two-leaf mallow), which belongs to Aristolochiaceae.
Japanese: 葵紋（あおいもん）はウマノスズクサ科のフタバアオイを図案化したものである。
English: As seen in the Aoi-matsuri Festival (Hollyhock Flower Festival), the aoi-mon symbolizes the Kamo clan and has been used as the Kamo-jinja Shrine crest (two leaves of hollyhock or Kamo Aoi).
Japanese: 葵祭に見られるように賀茂氏の象徴であり、葵紋は賀茂神社の神紋（二葉葵・加茂葵）になっている。
English: Bushidan (warrior bands) in Mikawa Province, which had close links with the Kamo clan, used the aoi-mon as their family crests.
Japanese: その賀茂氏とのつながりが深い三河国の武士団は、葵紋を家紋としてきた。
English: This fact supports the view that the use of the aoi-mon by the Tokugawa family, particularly by a warrior in Mikawa, means that the family may be a descendant of the Kamo clan instead of the Seiwa-Genji (Minamoto clan).
Japanese: これにより三河武士である徳川家が葵紋を使用していることは、徳川家が清和源氏の末裔ではなく賀茂氏の末裔ではないかとの説の根拠ともなっている。
English: Initially, the aoi-mon was not a special crest, but other families gradually started to avoid using the aoi-mon, including the Mitsuba-aoi, when the Tokugawa family became the Seii Taishogun (literally, "great general who subdues the barbarians") and established the Tokugawa shogunate.
Japanese: はじめは、特別な紋ではなかったが徳川家が征夷大将軍となり徳川幕府を開くにあたり、次第に他家の三つ葉葵に限らず葵紋の使用がはばかられるようになった。
English: Subsequently, the Tokugawa family monopolized the aoi-mon, but permission to use the aoi-mon was occasionally given to some clans such as the Honda clan, a Tokugawa retainer, and the Ikeda clan of Tottori Domain, a jun kamon (quasi-lineage) of the Tokugawa family.
Japanese: それらによっていつしか徳川家が独占するようになったが、徳川家家臣である本多氏や准家門の鳥取藩池田氏のように一部葵紋の使用を許されることもあった。
English: The Imperial Family tried to give Kiri-mon (paulownia patterns) to the Tokugawa family in order to follow the precedent of the Ashikaga clan, Nobunaga ODA and Hideyoshi TOYOTOMI, but the Tokugawa family refused to receive it.
Japanese: 天皇家は足利氏、織田信長、豊臣秀吉の例に倣い桐紋を徳川家にも与えようとしたが、徳川家はこれを固辞した。
English: In addition to its design with a circular outline, Mitsuba-aoi includes designs with angular outlines (Moriyama Mitsu-aoi, Saijo Mitsu-aoi, etc.) and gokan (五環) (five aoi-mon arranged in a circular pattern).
Japanese: 外郭が丸（輪）であるもののほかに、隅切り角（守山三つ葵・西条三つ葵など）のものや五環であるものもそういう。
English: The Tokugawa family and Tokugawa gosanke (three privileged branches of the Tokugawa families of Owari, Kishu and Mito) had similar Maru ni Mitsuba-aoi (Mitsuba-aoi in a circle), or the so-called Tokugawa Aoi (the hollyhock trefoil coat of arms of the Tokugawa clan).
Japanese: 徳川家、徳川御三家（尾張徳川家、紀州徳川家、水戸徳川家）では、同じような丸に三つ葉葵（まるにみつばあおい）いわゆる徳川葵（とくがわあおい）である。
English: Even in the same Tokugawa shogun family, the Tokugawa Aoi of the family up to the third generation had 33 stripes per leaf, which were gradually reduced to 13 per leaf in the Yoshinobu era.
Japanese: 同じ将軍家のものでも徳川三代までが一枚あたり33本で徐々に減っていき慶喜の時には13本になっている。
English: Tsunayoshi TOKUGAWA and Yoshimune TOKUGAWA used a leaf that was similar in design to the nuphar leaf patterns used for the Aizu-aoi.
Japanese: また、徳川綱吉、徳川吉宗は、会津葵のように、河骨の葉の図案に似た葉を用いている。
English: However, in many cases the Matsudaira family, a member of the Tokugawa clan, used Tsuta-mon (ivy patterns), Kiri-mon (paulownia patterns), or Touchiwa (fan), among others, which were used as a kae-mon (alternate personal crest).
Japanese: ただ、徳川一門である松平家は替紋の蔦紋や桐紋、唐団扇等を使用することがある。
English: Kaisei Mikawago Fudoki was completed by Motonao NARUSHIMA, a Confucian scholar of the shogunate in the Tenpo era, through his proofreading of its original, "Mikawago Fudoki" (The Topographical Records of Mikawa Province) (by Kazue Chikayoshi HIRAIWA [平岩主計親吉] from the Kanei era to the Seiho era), which was completed in the early Edo period.
Japanese: 改正三河後風土記は、江戸初期のに成立した『三河後風土記』（平岩主計親吉・著寛永・正保年間）を原本に幕府の儒学者である成島司直により校正され天保年間に成立したものである。
English: Mikawago Fudoki, a much older history book, states that the Mitsuba-aoi originated with the Sakai clan.
Japanese: もっとも古い史書である三河後風土記には、酒井氏から由来する、とある。
English: Aoi no Gomon Raiyu (the origin of the Tokugawa family crest) in "Ryuei Hikan," "Mikawago Fudoki" and "Kaisei Mikawago Fudoki" state:
Japanese: 『柳営秘鑑』葵之御紋来由、『三河後風土記』『改正三河後風土記』の記述
English: In July 1475 (or July 1479), during the Battle of Anjo, Choemon no jo Ujitada SAKAI placed three hollyhock leaves on a round tray and made Nobumitsu, the third head of the Matsudaira family, a present of the leaves with noshi (a thin strip of dried abalone wrapped in folded red-and-white paper), kachiguri (victory chestnut) and konbu (seaweed) on them.
Japanese: 文明七年七月（文明十一年七月とも）安祥合戦の時、酒井長衛門尉氏忠が、丸盆に葵葉三つを置き、これに、熨斗、勝栗、昆布を盛りて、三代信光に献じた。
English: Although Sakai was told to use the three hollyhock leaves for his family crest if they won the battle, in the time of Nagachika, the fifth head of the Matsudaira family, the Matsudaira family decided to use the Mitsuba-aoi as the family crest while the Sakai family was granted a yellow sorrel crest similar to the Mitsuba-aoi.
Japanese: この合戦勝利を得しより、この三つ葵を酒井家の紋にせよと賜りしが、五代長親の時、この紋を松平家の家紋と定め、酒井家にはこれに似たる酢漿草の紋を与えたり。
English: In Kiyoyasu's day, the seventh head of the Matsudaira clan, Tadamasa HONDA in Ina, Hoi County, supported Kiyoyasu when he attacked Yoshida-jo Castle and Tahara.
Japanese: 宝飯郡伊奈本多正忠が、七代清康の時に、吉田城ならびに田原を攻める際に味方した。
English: When Tadamasa welcomed Kiyoyasu's triumphal return to Ina, entertained him with food and drink, and served him a side dish on three hollyhock leaves, Kiyoyasu was pleased and said, "Thanks to your support, I achieved victory in this battle."
Japanese: 清康の凱旋を伊奈に迎えて、饗応し、三つ葉の葵に肴を盛りて、出したるに、清康喜び、汝このたび、我に味方し、合戦勝利を得たり。
English: Or, after Yasuchika and Chikauji MATSUDAIRA entered Matsudaira Village they worshiped at Kamo-myojin Shrine to pray and then started to use the aoi-mon as his family crest.
Japanese: あるいは、松平親氏、泰親、が松平村に入りし後、賀茂明神に祈願し家紋とした。
English: * The Kamo County, where Matsudaira-go, Kamo County in Mikawa Province, was located, was Shingun (shrine territory) for Kamo-jinja Shrine, and the Matsudaira clan in Matsudaira-go originally used the aoi-mon, the Kamo-jinja Shrine crest, as its own family crest.
Japanese: ※三河国賀茂郡松平郷のある賀茂郡は、賀茂神社の神郡（神領地）とされ、賀茂神社の神紋である葵紋を松平郷松平家がもともと家紋としていたという。
English: The mountainous Oku-mikawa area in Mikawa Province has many place names with "Kamo," such as Kamo-go in Kamo County, Kamo-go in Hoi County and Kamo-go in Shitara County.
Japanese: 三河国の山間部の奥三河地域には、賀茂郡賀茂郷、宝飯郡賀茂郷、設楽郡賀茂郷など賀茂の付く地名が多い。
English: For that reason, many local clans in Mikawa, such as the Matsudaira clan, the Sakai clan and the Honda clan, used the aoi-mon as their family crests.
Japanese: そのため、松平氏、酒井氏、本多氏など、三河の土豪は葵紋を家紋とする家が多かったという。
English: The following are among the views on the possible origin of the aoi-mon in Nihon Kamon Soran:
Japanese: 以下は、日本家紋総覧にある三つ葉葵に関する由来と見られている説の一部である。
English: Aizu-aoi or Aizu Mitsuba-aoi (trefoil hollyhock of Aizu) is one variation of the Mitsuba-aoi.
Japanese: 会津葵（あいづあおい）・会津三つ葉葵（あいづみつばあおい）は、三つ葉葵の変種の一つ。
English: In terms of the design, the Aizu-aoi is nearly the same as the Mitsuba-aoi of the Tokugawa family, but its three leaves are not the futaba-aoi leaves (mallow leaves) used in the original.
Japanese: 徳川家の三つ葉葵の紋とほぼ同じ図案であるが三枚の葉はオリジナルの葵（フタバアオイ）の葉の図案ではない。
English: Because these leaves look like nuphar leaves and are similar to the futaba-aoi leaves, some scholars view the Aizu-aoi precisely as Kohone-mon (nuphar patterns) instead of the aoi-mon.
Japanese: よく似た図案である河骨（コウホネ）の葉に見えることから、会津葵は厳密には葵紋ではなく河骨紋であるとの見方もある。
English: The term "korai chawan" refers to a type of tea bowl which was used in Sado (Japanese tea ceremony) from around the middle of the 16th century and was originally a bowl for everyday use made in the Korean peninsula that came to be appreciated as a tea bowl by Japanese chajin (tea ceremony masters).
Japanese: 高麗茶碗（こうらいちゃわん）は、16世紀半ば頃から、日本の茶道で用いられた茶碗の分類の一つであり、朝鮮半島で焼かれた日常雑器を日本の茶人が賞玩し茶器に見立てたものである。
English: The term 'korai' in korai chawan means 'coming from Korea' and most of the products which were called 'korai chawan' were made in the Joseon Dynasty rather than the Goryeo ("Korai" in Japanese) Period.
Japanese: 高麗茶碗の「高麗」とは「朝鮮渡来」の意であり、「高麗茶碗」と称されるもののほとんどは高麗時代ではなく、李氏朝鮮の製品である。
English: During the Muromachi Period (1333-1573), Japanese Sado changed from 'tea at the Shoin (reception room)' to 'tea at the Soan (thatched hut)' with an emphasis on 'wabi' (taste for the simple and quiet) and 'sabi' (quiet simplicity).
Japanese: 日本の茶道は室町時代の「書院の茶」から「侘び・寂び」を重んじる「草庵の茶」へと変化していった。
English: As a result, the types of tea bowls that were valued also changed, from karamono (goods imported from China) to koraimono (goods imported from Korea) and wamono (goods made in Japan).
Japanese: その過程で茶器も唐物（中国製）中心から高麗物（朝鮮半島製）、和物（日本製）がよしとされるように価値観が変わっていった。
English: Against this background, 'korai chawan', which were originally made as everyday bowls, came to be treated as tea bowls.
Japanese: もともと日用雑器として作られた「高麗茶碗」は、こうした流れの中で茶器として取り上げられるようになったものである。
English: Most karamono tea bowls used in Japanese Sado from the 16th century, such as tenmoku tea bowls, Juko celadon, Karamono chaire (Chinese-style tea canisters) and Luzon chatsubo (tea urn) were minor wares that were mainly fired in minyo (private kilns for producing plate ware for daily use) in southern China.
Japanese: 16世紀以来日本茶道で用いられた唐物茶器の多くは、天目茶碗、珠光青磁、唐物茶入、呂宋茶壺（るそんちゃつぼ）など、主に中国南部の民窯で焼かれた非主流的なものであった。
English: Of course, large amounts of these types of porcelain were also imported to Japan and many pieces have been excavated from medieval and more recent sites.
Japanese: むろん後者のような磁器類も日本へ大量に輸入され、中・近世の遺跡から多くの陶片が出土している。
English: Most of the ceramic ware coming from abroad was made in China and Southeast Asia, and although some Korean celadon and Bungjeong ware can be found, it seems that these were not particularly prized.
Japanese: 渡来陶磁器の大部分は中国や東南アジアのもので、わずかに朝鮮の青磁や粉青沙器もみうけられるが、特に重んじられた形跡はない。
English: Since which kilns they were fired in is not clear even today, it can be said that it was a unique viewpoint of the Japanese that led them to seek what were even then minor and rare karamono tea bowls.
Japanese: 唐物茶器はこんにちでも窯跡が明らかでないような、したがって当時としても陶磁界の主流でない珍奇なものが日本人独自の視点で捜し求められたといっていい。
English: Korai chawan' was a product of this background and it first appeared in literature in "Matsuya Kaiki" (Record of tea ceremonies), where 'korai chawan' is described as being used in Sogo JUSHIYA's tea ceremony in 1537.
Japanese: 「高麗茶碗」もこの流れの一つであって、文献上の初見は『松屋会記』に天文6年（1537年）、十四屋宗伍の茶会で「高ライ茶碗」が使用されたと見えるものである。
English: In "Yamanoue Soji ki" (The Record of Soji YAMANOUE) from 1588, there is a description to the effect that 'Kara chawan is out of fashion and Korai chawan, Seto chawan and Imayaki chawan are popular today.'
Japanese: 天正16年（1588年）の『山上宗二記』（やまのうえのそうじき）には、「唐茶碗はすたれ、当世は高麗茶碗、瀬戸茶碗、今焼茶碗がよい」という意味の記述がある。
English: It is thought that this 'Seto chawan' corresponds to today's Mino-yaki (Mino ceramic ware) and 'Imayaki chawan' to Rakujawan (Raku ware tea bowl).
Japanese: ここで言う「瀬戸茶碗」は今日の美濃焼、今焼茶碗は楽茶碗に相当すると考えられている。
English: This shows a change in aesthetic values, with a higher value placed on random and irregular porcelain rather than the well-regulated style and design of porcelain fired in the official kilns of China.
Japanese: ここには、中国の官窯の磁器のように器形、文様ともに整ったものよりも、作為のないもの、ゆがんだものをよしとする美意識の転換がみられる。
English: The people of the Korean peninsula consider their major ceramic ware to be that which is high-quality and elaborately made like Chinese ceramic ware.
Japanese: 朝鮮半島の人々は、自らの陶磁は中国陶磁と同様に高い技術をもって精緻に作られたものがその主流であるとみなしている。
English: Ido' style bowls were made for everyday use in the 15th and 16th centuries during the Joseon period and 'goshomaru' style bowls were order made for the Japanese market.
Japanese: 「井戸」のように15-16世紀の朝鮮王朝時代の日常雑器だったものと、「御所丸」のように日本からの注文で作られたものとがある。
English: This style has long been regarded as the best example of korai chawan and has a high kodai (base or foot) called a 'Takenofushi Kodai' (bamboo-node foot).
Japanese: 古来高麗茶碗の最高峰とされるもので、「竹の節高台」と称される高い高台をもつ。
English: Although only everyday items and far from being what are known as 'jotemono' (refined art), they have a simple yet powerful charm which is suitable for wabicha (literally, "poverty tea style").
Japanese: いわゆる上手物（じょうてもの）とは程遠い、日常雑器の茶碗に過ぎないが、いかにも侘び茶にふさわしい素朴で力強い味わいがある。
English: Their first mention in literature is the description in "Sokyu chanoyu nikki" (tea-gathering diary written by Sokyu) of their use in Sowa YABUNOUCHI's tea ceremony in 1578.
Japanese: 文献上は『宗及茶湯日記』に天正6年（1578年）、藪内宗和の茶会で用いられたとあるのが初見である。
English: Among various theories on the origin of the name 'ido' (literally,'well'), the most influential is that it simply meant 'a deep tea bowl like a well.'
Japanese: 「井戸」の名の由来は諸説あるが、単純に「井戸のように深い茶碗」の意とする説が有力である。
English: Noted oido include 'Kizaemon' (Koho-an in Daitoku-ji Temple), 'Hosokawa' (Hatakeyama Memorial Museum of Fine Art), and 'Tsutsuizutsu' (private collection).
Japanese: 「喜左衛門」（大徳寺孤篷庵）、「細川」（畠山記念館）、「筒井筒」（個人蔵）などが著名。
English: Koido (literally, 'small well'): considered to refer to bowls of smaller shape and characteristics than 'oido' although it is also said to mean 'old well.'
Japanese: 小井戸-「大井戸」よりも形、特徴がともに小振りのものを指すとされるが、「古井戸」の意ともいう。
English: Aoido (literally, 'blue well'): refers to bowls with a slight blue glaze, but there are various tones, including one which is similar to 'oido.'
Japanese: 青井戸-釉に青みがかかるものを指すが、釉調は「大井戸」に近いものもありさまざまである。
English: Idowaki (literally, 'well side'): refers to bowls similar to ido chawan but are large and shallow.
Japanese: 井戸脇-井戸茶碗に類するものの意で、見込みがひろく浅めな形（なり）をいう。
English: These are white porcelain style bowls made of paste covered with white clay and clear glaze.
Japanese: 白磁風の茶碗で、陶質の胎土に白土を掛けた上に透明釉などを施したもの。
English: Recently, it has been generally accepted that it was called 'mishima' because the irregular patterns were similar to the Mishima-goyomi calendar made by the Kawai family and distributed from Mishima-taisha Shrine.
Japanese: 地紋の斑になったところが三嶋大社発行の三島暦に似ることからと「三島」と称するというのが近世以来の通説。
English: Raihin Mishima' is a jotemono piece with an inscription stating that it was used at an office for entertaining foreign guests in Korea.
Japanese: 「礼賓三島」は上手物で、朝鮮で外国賓客のもてなすための役所で使われたことを示す銘がある。
English: Kohiki: bowls covered completely with white clay which has a powdered appearance in places.
Japanese: 粉引（こひき）-白土を全面に掛け、まだらに粉を吹いたように見えるもの。
English: Gohon chawan: bowls fired at the Japanese consular office in Busan in the early part of the Edo period (1603-1868) and made to order based on a model.
Japanese: 御本茶碗-江戸前期に釜山の倭館で焼かれたもので、切型(お手本)によって注文制作されたもの。