nntsuzu/KFTT huggingface dataset:
English: In addition, the air layer formed by mino-bari creates insulation and heat-retention characteristics and sound absorption and sound proofing as well.
Japanese: さらに、蓑貼りが作り出す空気の層は、断熱保温効果と吸音防音効果も果たしている。
English: Beta-bari' is to stick paper by spreading paste all over the surface and plays a role in holding down the mino-bari.
Japanese: 「べた貼り」は、紙の全面に糊をつけて貼り、蓑貼りの押さえの役割を持つ。
English: Fukuro-bari' is to apply paste only to the narrow areas of the edges of paper such as hanshi or thin handmade Japanese paper and cha-chiri, and stick it in a bag-like shape.
Japanese: 「袋貼り」は、半紙または薄手の手漉き和紙や茶チリなどの紙の周囲だけに、細く糊を付けて袋状に貼る。
English: It is also called 'uke-bari' because it is pasted in a half-raised manner like a bag, and accomplishes a deep sense of taste.
Japanese: 袋状に浮かして貼るので「浮け貼り」ともいい、奥行きのある風合いを完成させる。
English: This is only used depending upon the properties of the final paper or when paper surface sheets of different properties are pasted on the both sides.
Japanese: これは上張りの紙の材質や裏と表に材質の異なる表面紙を貼るときなどに限って使用する。
English: These processes of pasting paper for several times aim to fix the lattice of shoji used as the framework by shrinking force of paper to prevent the wood from warping and to finish it.
Japanese: これらの幾重にも和紙を張り重ねていく工程は、組子の障子の格子を紙の引きで固定し、木材のひずみを防止するとともに、裄のある（ふくらみのある）風合いをもたせて仕上げるためのものである。
English: For hone-shibari, wastepaper that has strength was used, for intermediate processes Minato-gami (Minato paper, a paper made of used paper in Minato-mura village, Izumi Province with thin black or gray color) or chachiri-shi (a paper made from the wastes of the black bark of paper mulberry trees) was used, and for the process of kiyo-bari, the highly sticky kizuki such as Mino-gami, Hosokawa-gami and Sesshu-hanshi (standard-size Japanese writing paper made in Iwami Province) were used.
Japanese: 骨縛りは引きの強い反故紙を用い、中期工程には湊紙（和泉の湊村で漉かれた漉き返しの紙で、薄墨または鼠色の紙）や茶塵（ちゃちり）紙（楮の黒皮のくずから漉いた紙や、故紙を再生したもので単に塵紙ともいう）を用い、清貼の工程には粘りの強い生漉きの美濃紙・細川紙・石州半紙などが用いられた。
English: While wooden doors and akari-shoji are made by a workman for doors, fusuma is not included as doors generally, made with pasting paper several times by kyo-ji and hyogu-shi.
Japanese: 板戸や明かり障子は建具職人によって作られるが、襖は一般に建具とは言わず、「ふすま」と言い、経師や表具師によって、幾重にも紙を張り重ねることによって「ふすま」となって行く。
English: The fusuma becomes stronger through the processes of pasting papers with changing the quality of paper and shikuchi (an angle for joining), and gains sound an absorption, an insulation and a humidity regulation effects, bringing a settled Japanese style atmosphere with a puffed and soft taste.
Japanese: 紙質を変え、張りの仕口をかえて、紙を張り重ねていくと、ふすまは丈夫になるとともに、吸音効果や断熱効果そして調湿効果などとともに、ぴんと張りつめたなかにも、ふっくらとした柔らかい味わいで、落ち着いた和風の雰囲気を醸し出す。
English: Since ancient times, Japanese had made much of 'white' color especially to express innocence and purity, cleanliness and holiness.
Japanese: 古来から、日本人は「白」という色を、汚れのない清らかなもの清浄なもの、神聖なものとして特に大切にしてきた。
English: They made clothing from the fibers of hemp and kozo since ancient times, and especially the bark fibers of kozo was called 'yufu,' which was refined in thread-like form by steaming the fibers of peeled bark and exposing them to water.
Japanese: 古代から麻や楮の繊維から衣料を作ったが、特に楮の皮の繊維は「木綿（ゆふ）」と呼ばれ、剥いだ樹皮の繊維を蒸した後、水にさらして糸状に精製したものである。
English: The bleached woven cloth of this yufu is called shirotae, and it can be said that this is the origin of the sensitivity of Japanese to white.
Japanese: この木綿で織った布を白く晒したものを白妙と呼び、日本人の白さに対する感覚の原点と言える。
English: They empathize the whiteness of yufu made of beautiful white fibers through the processes of submerging in clean and cold water repeatedly and bleaching many times like purifying its body, regarding it as a holy color.
Japanese: 清らかな冷たい水の中を幾度もくぐらせて、何度もさらすことによって、身を浄めるようにして得られた、美しく白い繊維の木綿の白さに神聖なものとしての感情が移入されている。
English: Yufu is also called 'nusa' and is applied to the Chinese characters of '幣' or '幣帛.'
Japanese: 木綿は「ぬさ」とも呼ばれ、幣または幣帛（はく）という漢字が当てられている。
English: It has been used for a twig of sakaki (a tree used for shrine rituals) which miko (a shrine maiden) in the service of a shrine who performs a dance before the gods has or for igushi (a branch of a sacred tree) using a young bamboo and bamboo grass which are offered to the gods, and for a symbol of the boundary indicating the holy area decorated on shime-nawa (a thick rope used as a ceremonial implement of shrines which indicates the boundary between the holy area and the everyday area) as shide.
Japanese: 神前で舞う巫女の持つ榊の小枝や、神に捧げる若竹や篠などを用いた斎串に付けたり、しめ縄に垂（四手）として飾り、神聖な領域を示す結界の象徴として用いてきた。
English: Yufu is made of kozo bark fiber and paper is also made of kozo fiber.
Japanese: 木綿は楮（こうぞ）の皮の繊維からつくり、紙もまた楮（こうぞ）の繊維からつくる。
English: During the Nara period when Japanese paper spread, paper played the role of nusa instead of yufu and a paper nusa began to be used to decorate shrines.
Japanese: 和紙が普及する奈良時代には、木綿に代わって紙が幣の座を占め、どこの神社も紙の幣帛で飾られるようになった。
English: In accordance with the prevalence of Japanese paper, tsuitate-shoji, made with a wooden lattice pasted Japanese paper on both sides, had been used in the Nara period, and the fusuma-shoji began to be used in the Heian period.
Japanese: 和紙の普及に伴い、奈良時代には木格子の両面に和紙を張った衝立障子が用いられ、平安時代には衾（ふすま）障子が用いられるようになっている。
English: The word shoji was used as a general term for partitions since ancient times, and the Chinese character 'sho' of shoji has the meaning of obstruct or separate.
Japanese: 障子は古来間仕切りの総称として用いられたが、「障」はさえぎる、へだてるの意がある。
English: The shoji interferes with the field of vision toward the holy 'oku' (inner part), protects against evil spirits and wicked souls and obstructs winds and chills.
Japanese: 障子は神聖な「奥」への視界をさえぎり、さらには物の怪や邪霊を防ぎ、風や冷気をさえぎる。
English: Shirotae were weaved of yufu, a hemp cloth, a silk cloth and a paper, were pasted on tsuitate shoji, a folding screen, tobari and fusuma-shoji, and their colors were all clear and holy 'white' with the intention that the holy precinct was protected against wicked souls as the boundary of a holy place.
Japanese: 衝立障子や屏風、帷そして衾障子には、木綿で織られた白妙や麻・絹そして紙を張ったが、神聖な場所としての結界として、聖域を邪霊から守り防ぐ意味から、清浄で神聖な「白」が張られた。
English: According to a drawing of the shrine with furnishings in Higashisanjo-dono (a residence taken over by the Fujiwara clan) of FUJIWARA no Tadazane in 1115 described in the "Ruiju Zatsuyosho" (a book explaining the furnishings in ceremonies and events in detail with sketches), all shoji were shown as a white ground with no pictures and karakami patterns.
Japanese: 『類聚（るいじゅう）雑要抄』の永久(元号)3年（1115年）藤原忠実の東三条殿の神殿しつらえ図面によると、すべての障子には絵画も唐紙紋様もない「地・白」と記されている。
English: In the elevated view with furnishings of zuijin-dokoro (a place of official guards stationed), there is the word 'fusuma' on all the surfaces of shoji, and a description that 'all the fusuma and similar furnishings were white.'
Japanese: 随身所のしつらえ立面図などには、すでに障子の表面に「襖」という文字が記され、「襖類何レモ白」と記されている。
English: The tradition to paste white torinoko on fusuma has been continued until now in first-class Japanese restaurants and Japanese-style hotels of high social status, and it is said that white torinoko is pasted on the fusuma of Japanese-style room in the Imperial Palace.
Japanese: 襖に白鳥の子を張るという伝統は今日にも引き継がれており、格式の高い料亭や旅館にも使われており、皇居の和室の襖も白の鳥の子が張られているという。
English: In addition to the holiness toward white which Japanese have been felt since ancient times, another holiness of the decorations called the 'solemnity' symbolized by brilliant gold, which was the exact opposite of white, has also been promoted with the introduction of Buddhism.
Japanese: 古代以来の日本人の白に対する神聖性とは別に、仏教伝来と共に対局の金色燦然とした「荘厳」といわれる飾りの聖性を獲得していった。
English: On a Buddhist alter, a gilt bronze statue of the Buddha with shining golden halo is placed and the ornaments such as ranma (a wooden panel used as a decorative transom above paper-covered sliding doors) are gorgeously and brightly decorated, and as a result, the total space suggests gokuraku jodo (the Pure Land of Amida Buddha).
Japanese: 仏教における祭壇で、黄金の光背を放つ金色燦然とした金銅仏が安置され、きらびやかに彩られた欄間などの装飾によつて、空間全体が極楽浄土を暗示している。
English: As opposed to the holiness toward pure 'white' of the Shinto (Shintoism) in ancient times, the new shining golden holiness provided a big change in the sense of worth for ancient Japanese.
Japanese: 古代の神道の清浄な「白」に対す聖性に対して、光り輝く黄金色の新しい聖性は、古代の日本人に大きな価値観の変化をもたらした。
English: Affected by Buddhism, they increased a tendency of additional decorations more splendidly and more gorgeously than was seen in Buddhist temple, apart from the purifying white holiness and white decorativeness in Shinto.
Japanese: 仏教の影響は、神道の拭い清める白の神聖性と、白の装飾性から、仏像伽藍のような、より立派により華やかに装飾するという加飾性を大きくしていった。
English: Kara-e paintings began to be drawn on tsuitate shoji (an original form of fusuma), folding screens and oshitsuke-kabe (a fixed and unmoving fusuma which is used as a wall), and in the mid-ninth centuries yamato-e paintings began to be drawn.
Japanese: 襖の原型である衝立障子や屏風そして押しつけ壁にも、唐絵が描かれるようになり、九世紀中頃には大和絵が描かれるようになった。
English: During the Kamakura and Muromachi periods, the style of buildings was shifted from Shinden-zukuri style to Shoin-zukuri style, which developed and was completed as a housing style for the samurai class during the Edo period.
Japanese: 鎌倉・室町時代に寝殿造りから書院造りへと移行し、江戸時代に書院造りは武士階級の住宅様式として完成していった。
English: The characteristic of Shoin-zukuri style in the early stages was that fusuma-shoji and haritsuke kabe of shoin as the place for a ceremony to meet visitors were placed side by side and the whole surface was decorated with kinpeki-shohekiga of brilliant coloring on a golden ground as a symbol of power.
Japanese: 初期の書院造りの特徴は、接客対面の儀式の場としての書院を、権力の象徴として、襖障子と張り付け壁を連続させて、その全面を金地極彩色の金碧障壁画で飾り立てた。
English: Koshi (格子)' is often written as '隔子' in old documents; there is a description in a document, Kawachi-no-kuni, Kanshin-ji, Engi Shizaicho (Official Register and Inventory for Kanshin-ji Temple, Kawachi Province) that in 884, in front of the Nyohodo four pieces of 'koshido (隔子戸)' were being built.
Japanese: 「格子」は古文書では、「隔子」と書かれていることが多く、元慶七年（884年）河内国観心寺縁起資財帳によると、如法堂の正面に「隔子戸」四具が建てられていたとある。
English: The use of the letter "do (or to 戸)" implies that they were Chinese continental style swinging doors rather than shitomi (a generic term for timber shutters or doors that generally have vertical and horizontal lattice attached to the exterior surface and sometimes to the interior surface as well).
Japanese: 戸とあるから、蔀（しとみ）ではなく大陸様式の扉開き戸であったと考えられる。
English: Swinging door type koshido became more common for the front side in temple architecture; further, according to "Tonomine Ryakki" (brief sketch of Tonomine), narabido (two temples) style Kodo (lecture hall), which was built in 972, had a 5-ken (about 9 m) width koshido at the front of naijin (inner sanctuary of the hall), and three units of koshido to divide naijin and gejin, or the inner sanctuary and the adjacent area.
Japanese: 寺院建築の正面には扉形式の格子戸が多用されるようになり、さらに『多武峰略記』によると、天禄三年に建立された双堂形式の講堂の内陣の正面に格子戸五間を建て込み、内陣と外陣の間仕切りに格子戸三具を建て込んでいた。
English: In late Heian period, the sliding style became widespread.
Japanese: 平安時代後期になると、引き違いの格子戸が広く使用されるようになった。
English: In "Genji monogatari emaki" (the Illustrated Handscroll of the Tale of Genji), and "Nenchu-gyoji Emaki" (illustrated handscroll of annual events), depicted black lacquered koshido, being used as sliding doors or built-in dividers.
Japanese: 『源氏物語』『年中行事絵巻』などには、黒漆塗りの格子戸を引き違いに使ったり、嵌め込み式に建て込んだ間仕切りの様子が描かれている。
English: In Hoo-do Hall of Byodoin Temple, which was built by FUJIWARA no Yorimichi in 1053, there is a door on the opening areas of the peripheral wall, and koshi-yarido (latticed sliding door) was also used on the inner side.
Japanese: 天喜元年（1053年）藤原頼通が建立した、平等院鳳凰堂は四周の開口部には扉を設けているが、その内側に格子遣戸もあわせ用いている。
English: In this way, koshi-yarido allows utilizing outside natural light and air effectively while functioning as a divider.
Japanese: このような格子遣戸の用い方は、隔ての機能を果たしながら、採光や通風を得ることができる。
English: It is made with wooden panels mainly, but some Itado are made with glass, cloth, paper, and so on.
Japanese: 主に木の板で作られるが、一部にガラスや布・紙などを用いるものもある。
English: The oldest existing wooden architecture in Japan is considered to be Horyu-ji Temple in Nara, which is also called Ikaruga-dera Temple built by Prince Shotoku around 607.
Japanese: 現存する日本最古の木造建築は、斑鳩寺ともいわれ聖徳太子建立607年頃の、奈良の法隆寺である。
English: It's generally believed that the existing Garan of Saiin (West Precinct) in the Horyu-ji Temple (including kondo - main hall of a temple) was once destroyed by fire and rebuilt around the end of the 7th century, and the door in kondo of the Horyu-ji Temple is supposed to be the oldest existing door.
Japanese: 現存する法隆寺西院伽藍（金堂含む）は、一度火災で焼失した後、7世紀末頃に再建されたものであることが定説となっているが、法隆寺金堂の中の扉が、一応現存する最古の扉といえる。
English: However, the inside of first layer was destroyed by fire at the time of renovation during the Showa period, and the door was restored as one door composed of two wooden panels.
Japanese: しかし、昭和修理の時に火災で初層内部を焼損し、二枚を張り合わせて一枚の扉に復元されている。
English: The original door was a solid timber of cypress 3 m high, about 1 m wide, and about 10 cm thick.
Japanese: 当初の扉は、高さ3m幅約1m厚さ約10cmの、桧（ひのき）の節なしの一枚板であった。
English: There are four doors in kondo-mokoshi (a pent roof, enclosure usually one bay deep, of the main hall of the temple) which was built later than kondo during the Nara period.
Japanese: 金堂よりおくれて奈良時代に建立された、金堂裳階の四面の扉は現存している。
English: They are also made from solid timber, 2.7 m high, 1 m wide and about 8.5 cm thick, with kazari-kanagu (decorative metal fittings) of gilt bronze bai (a circular nail head cover placed over a nail to attach a non-penetrating tie beam to a pillar) on the under side and setting renjimado (a window with vertical or horizontal wooden laths or bamboo are lined up at given intervals) on the upper side.
Japanese: やはり一枚板で、高さ2.7m幅1m厚さ約8.5cmの大きさで、下部に唄ばい金銅の飾り金具を打ち上部に連子窓を設けている。
English: The Kondo in Toshodai-ji Temple (founded in 759) founded by Jianzhen about 150 years after the construction of Horyu-ji Temple, is estimated to be built around the end of the 8th century after Jianzhen's death.
Japanese: 法隆寺建立から約150年後に創建された鑑真ゆかりの寺唐招提寺（759年創建）の金堂は、鑑真の没後、8世紀末頃の建築と推定される。
English: The door of kondo of the Toshodai-ji Temple is made as an Itasando structure, which is a simple wooden door made of five narrow vertical planks nailed with the rear horizontal cross members.
Japanese: 唐招提寺金堂の扉は、幅の狭い板を五枚縦に並べて、裏桟に釘どめした板桟戸構造になっている。
English: In order to hide the nail head on the surface of the door, the lacquered wooden decoration of manju-gata (style of bun with bean-jam filling) are attached and the kondo-hasso kanagu (literally, "gilt-bronzed twin eights metalwork") (a kind of fixing bracket for decoration and reinforcement) are attached in order to prevent deformation of the door as a whole.
Japanese: 扉の表面に出た釘頭を隠す為に、饅頭型の木製漆塗りの飾りを付け、扉全体の変形を防止するため金銅八双金具（装飾と補強を兼ねた建築金具の一種）を、取り付けている。
English: Toin Denpodo of Horyu-ji Temple is a part of the existing house of Nara period.
Japanese: 奈良時代の住宅の一部で現存するものは、やはり法隆寺の東院伝法堂である。
English: The Denpodo was originally a part of the residence of Tachibana-fujin (Lady Tachibana), Emperor Shomu's mother-in-law, and was donated to Toin of Horyu-ji Temple, which was the remains of Ikaruga no miya of Prince Shotoku.
Japanese: 伝法堂は、元来聖武天皇の橘夫人の邸宅の一部であったものが聖徳太子の斑鳩宮の跡である法隆寺東院に寄進されたものである。
English: It was partly reformed to a Buddhist temple, and its building structure except for the wooden floors, commonly seen in the architecture of temples in those days, was influenced strongly by Tang.
Japanese: 仏堂にするため一部改造されているが、当時の寺院建築にみられるような、板敷を除けば唐の強い影響を受けた建築構造となっている。
English: The former building of Denpodo was built in the style of tsuma-iri (entrance in the side of tsuma (the gable pediment or the gable side a building with a gable roof)), and its planar structure consisted of the main room of 5.4 m depth and 7.2 m wide surrendered by walls and doors, the open space of 3.6 m depth and 7.2 m wide, and the broad sunokojiki (a slatted floor or duckboard floor made of boards or bamboo laid parallel) leading to the open space.
Japanese: 伝法堂の前身建物は妻入り（屋根の妻側を正面とする）で、平面構造は、桁行（奥行）三間、梁行（幅）四間の壁と扉で閉ざされた主室部分と、桁行二間梁行四間の開放的部分とそれにつづく広い簀子（すのこ）敷から構成されている。
English: With only walls and doors dividing a room, its structure was built in the style of hiroma (a large room occupying the full cross section of a building) without any inside partition.
Japanese: 空間を間仕切るものとしては壁と扉しかなく、内部間仕切りのない、広間様式の建築構造となっている。
English: Although in Denpodo, foundation stones were used under the pillars, seldom seen in buildings of those days, and at Heijo-kyo (the ancient capital of Japan in current Nara) in the Nara period a hottate bashira (an earth fast post) was adopted in the most of the buildings which had been succeeded since the Kofun period (tumulus period).
Japanese: 伝法堂は、当時の建築としては珍しく、柱に礎石を用いているが、奈良時代の平城京では、ほとんどの建物が古墳時代と同様な掘立柱であった。
English: These buildings are of simple style before hisashi (eaves or aisles) was developed, which consisted of only moya (the core of a building with only post and roof) of 3.6 m wide in a simple style without hisashi.
Japanese: これらの建物は梁行二間の母屋（もや：主構造が柱と屋根の屋）だけで作られており、廂（ひさし）がまだ発達していない簡素な様式であった。
English: According to those documents, it was five ken in depth and three ken wide and consisted of the main room surrounded by walls, renjimado and doors, and wooden floors on the both sides of the main room.
Japanese: 文書によって復元される構成は、桁行五間梁行三間で、壁と連子窓と扉で囲われた室部分と前後の広い板敷から構成されている。
English: This Itadono of FUJIWARA no Toyonari was also built in the style of hiroma which had no inner partition.
Japanese: この藤原豊成の板殿も、やはり内部間仕切りのない広間様式の建築であった。
English: Basically it was built in accordance with the traditional construction method, but the door, renjimado and other items were made by techniques from the Asian Continent, especially China.
Japanese: 基本的な工法は伝統的な在来工法を用いているが、扉口や連子窓などは大陸の技術によっている。
English: In other words, apparently there was no original technique to make a door aperture until that time.
Japanese: つまり、この時代までは開口部を作る独自の技術がなかったと判断される。
English: Doors made were only the Chinese style commonly found in both in Denpodo and Itadono, and there was no inner partition, characteristic of architecture during the Nara period.
Japanese: 伝法堂も板殿もいずれも、建具としては共通して唐様式の扉しかなく、内部空間を仕切る建具がなかったのが、奈良時代の建築の特徴といえるであろう。
English: During the Nara period, such movable 'Shoji' (a generic term for partitions, that may slide, hang or remain stationary, that can divide the interior of a building into separate rooms) as a screen, bamboo blind and kicho (a curtained frame put up to screen royal personages or noble ladies from direct view of those around them), were used.
Japanese: 奈良時代には、衝立や簾、几帳のような可動式の「障子」が使用されていた。
English: The Shoji in a screen style was described in "Horyu-ji Engi narabini Shizaicho" (note of origin and materials of Horyu-ji Temple) produced in the Nara period as it was 2.12 meter high and 1.06 meter wide with a pasted purple twill weave on the face and a pasted hanada (light blue) fabric on the reverse side.
Japanese: 衝立状のものとしては、奈良時代の『法隆寺縁起并資材帖』に、高さ7尺巾3尺5寸で、表が紫綾織り張り、裏面が縹（はなだ：青色）の裂地（きれじ）張りであったと記録されている。
English: With a wooden lattice as a framework, silk cloth were set on both sides and put up on daikyaku (screen holder) in the shape of a screen.
Japanese: 木製の格子を骨組みとして、両面に絹布を張り衝立て状に台脚の上に立てたものである。
English: There is no existing building of Shinden-zukuri now, but it is said that Shishinden (formal place for ceremonies in the Dairi, Emperor's private spaces) and Seiryoden (literally "Limpid Cool Hall," an imperial summer palace) in Kyoto Gosho (Old Imperial Palace) recreated the style in the latter part of the Heian period.
Japanese: 寝殿造りの建物は、現存していないが、京都御所の紫宸殿と清涼殿は、平安時代後期の形式を再現しているという。
English: The layout of Shishinden, the state chamber of Heiankyu Dairi (the Emperor's residential compound in Heian-kyo (ancient capital in Kyoto)), consists of moya of 16.36 m wide in front with hisashi no ma in four directions, and the doors of the external partition are tsumado which is placed at the four corners of the enclosure and the center of kita-hisashi (room in the northern surrounding building) and a large Shitomido on bays which is opened by being pulled up inside during the daytime.
Japanese: 平安宮内裏の正殿である紫宸殿は、正面九間の母屋の四方に廂（ひさし）の間を設けた間取りであり、外部との仕切りの建具は四隅と北廂中央に妻戸を開く他、柱間に一枚の大きな蔀戸を設け、昼間は内側に釣り上げて開く。
English: The tsumado in Shishinden is made with a sophisticated technique, combining two boards and fixing them with spindly trapezoidal boards called hashibami horizontally on the upper and under sides instead of urazan (a crosspiece used to secure the back or upper side of a ceiling board).
Japanese: 紫宸殿の妻戸は、二枚の板を接ぎ合せ、裏桟の替わりに上下に端喰み（はしばみ）という細長い台形の横板を入れて板を固定したもので、手のこんだ作りとなっている。
English: The term Shitomido is a wooden door made with a board set between two lattices, and is opened by pushing up horizontally.
Japanese: 蔀（しとみ）戸は、格子を組み間に板を挟む板戸で、水平に跳ね上げて開く。
English: As an inner partition, there is 'Kenjo no shoji' (sliding screens with paintings of thirty-two Chinese sages, which form the main wall behind the Shishinden (formal ceremonial hall) of the Kyoto Imperial Palace) at the border of moya and kita-hisashi, and moya and nishi-hisashi (room in the western surrounding building) are divided by a wall.
Japanese: 内部の仕切りとして、母屋と北廂の間の境に「賢聖の障子」を設け、母屋と西廂の間は壁で仕切られている。
English: This Shoji was not Akari-shoji (a translucent screen or sliding door made by pasting single sheets of white Washi (Japanese paper) on light wooden frames, or sometimes on bamboo frames) as seen at present but a movable set-in board wall pasted silk cloth, which was set in as Shitsurai (room decorations) as the occasion might demand.
Japanese: この障子は、今日の明かり障子ではなく、絹布を貼った可動式の嵌め込み式の板壁で室礼（しつらい）として用いられ、時に応じて設置されるものであった。
English: Shishinden was the state chamber of Dai-dairi (place of the Imperial Palace and government offices) in Heian-kyo and a place held Choga (the national ceremony in which Emperor received New Year's congratulations from the whole body of officials) and public matters as well as imperial or state ceremonies held later.
Japanese: 紫宸殿は、平安京の大内裏の正殿で、朝賀・公事を行なう所で、のち大礼も行なわれた。
English: Then, it is said that there was 'Shoji-to' (sliding paper door) in the three points of the central room and the east and east second rooms.
Japanese: そして、中央間と東西第二間の三ヶ所に「障子戸」が設けられていたという。
English: The other rooms were all divided by Shitomido, but there was no partition except that, which could be said to be in hiroma style.
Japanese: その外はすべて蔀戸で仕切られているが、これ以外に仕切りの無い広間様式である。
English: The Seiryoden was a bedroom of the Emperor so it was subdivided, but its doors were the same as those of Shishinden with tsumado set on the side and Nurikome and Shitomido around.
Japanese: 清涼殿は、天皇の起臥する室であったので、細かく仕切られているが、建具の使用状況は、紫宸殿と同じで、側面と塗篭めに妻戸（とびら）を設け周囲は蔀戸を釣っていた。
English: The term Nurikome refers to a room of plastered clay walls around and it was used for a storage room or a bed room.
Japanese: 塗篭めは、周囲を厚く土壁で塗りこめた部屋で、納戸や寝室として使われた。
English: In addition to this, 'Konmeichi no shoji ' was placed to prevent the view from higashi-magohisashi (a narrow additional aisle in the east side).
Japanese: この他、東孫廂（まごひさし）の見通しを遮るために「昆明池の障子」が置かれていた。
English: This Shoji had a screen drawn Konmeichi Pond which Han Wudi had ordered to dig for training the navy in the west of Chang'ancheng.
Japanese: この障子は、衝立てで、漢の武帝が水軍訓練のため、長安城の西に掘らせた昆明池を描いた衝立てである。
English: In addition, the Nenjugyoji no shoji (Tsuitate shoji) drawn the regular annual ceremonies of four seasons was placed at the entrance of Tenjo no ma (anteroom for nobles).
Japanese: さらに、春夏秋冬の儀式を描き上げた年中行事障子（衝立障子）が、殿上の間の戸口の前に置かれていた。
English: Sho' means to interrupt space and 'ji' is a suffix used for small things and tools.
Japanese: 「障」とは、間をさえぎるの意であり、「子」は小さいものや道具につけられる接尾語である。
English: It was a genetic term of screen, byobu (folding screen), bamboo blind, kicho or karado (a kind of hinged door), Mairado (a kind of wooden door) and Shitomido which were used for external partitions.
Japanese: 衝立、屏風（びょうぶ）、簾（みす）、几帳あるいは、室外との仕切の唐戸（扉の一種）、舞良戸（板戸の一種）、蔀戸等の総称であった。
English: This Shoji on which a strange mysterious person in Chinese style was drawn by ink painting is considered to be a sliding screen or Fusuma Shoji rather than Tsuitate shoji.
Japanese: この唐風の異形の怪人を描いた墨絵の障子は、衝立て障子ではなく、引き違いの障子、すなわち襖障子であったと見られている。
English: In "Makura no Soshi" (The Pillow Book) there is a description; 'In north-east end of Seiryoden, there were shoji (translucent screens), which separates the north side, with pictures of the rough sea, living things looked frightening...'
Japanese: 『枕草子』にも「清涼殿の丑寅のすみの、北のへだてなる御障子は、荒海の絵、生きたる物どものおそろしげな・・・」とある。
English: In addition, in the "Hoketsu Kenmon Zusetsu" (Legal history book) in the Edo period, 'Araumi no shoji' was drawn as an apparent sliding screen of Fusuma shoji.
Japanese: また江戸時代の『鳳闕見聞図説』には、明らかに引き違いの襖障子として、「荒海障子」が描かれている。