nntsuzu/KFTT huggingface dataset:
English: The hankiri type includes Najio hankiri paper, and the miscellaneous purpose type includes Najio matsuba-gami (pine needle paper), Asagi-gami (pale yellow paper), kaki-gami (persimmon paper), mizutama-shi, paper for making a medicine bag and water-resistant paper coated with oil.
Japanese: 半切り類には、名塩半切り紙、雑紙類には、名塩松葉紙、浅黄紙、柿紙、水玉紙、薬袋紙、油紙などがある。
English: When humidity becomes high the fusuma and shoji used in rooms absorb moisture and they evaporate moisture when the air dries.
Japanese: 室内に張られている襖や障子も湿度が高くなると湿気を吸収し、乾燥すると水分を発散させている。
English: After these processes are repeated, the entangled fibers eventually unravel and the structure of paper breaks down and is destroyed.
Japanese: これを繰り返していると、絡み合っている繊維がもどけて紙の組織が崩壊していく。
English: This is the reason why cheap shoji paper turns black and easily becomes torn within one year or less.
Japanese: 安価な障子紙などは、一年もすると黒ずんで破れやすくなるのはそのためである。
English: However, in case of Najio paper in which soil is contained, the fibers are less influenced by humidity because the soil absorbs and evaporates the moisture, and consequently it is a highly durable paper.
Japanese: ところが名塩紙の場合は、泥土が混入されているために、湿気は泥土が吸収し、これを発散させるために、繊維に対する影響が少なく、耐久性に優れている。
English: In addition it is not eaten by moths because a minute particle of mud prevents their entering and adhering between the fibers of ganpi.
Japanese: また、シミ（紙虫）に強いのは、雁皮の繊維の間を泥土の微粒子が固着して、紙虫の進入を防いでいるからである。
English: This is why the quality of Najio torinoko paper is smoother.
Japanese: このことは、名塩鳥の子の紙質が一段ときめ細やかになるもとになっている。
English: The Najio production method became popular not only for torinoko, but also for doromaniai-shi which was useful as a high-quality fusuma paper in recent years.
Japanese: 名塩は鳥の子で知られているが、近世に高級な襖紙として重宝された泥間似合紙の産地としても有名になった。
English: It is said that a brand of 'Najio torinoko paper' appeared on the market in Kamigata (Kyoto and Osaka area) in 1638, and it became a best-selling item there like the name of Najio torinoko in the early period of recent times.
Japanese: 「名塩鳥の子紙」の銘柄が、上方の取引市場に出るのは寛永15年（1638年）からといわれ、近世初期には名塩鳥の子の名で上方市場の有力商品となっていた。
English: In the "Setsuyo gundan" (a topography of Settsu province)" written by Keishi OKADA (published in 1701), there is the description; 'There is a special soil for torinoko paper in Najio. This soil is mixed with torinoko paper during the paper-making process and it makes the paper more beautiful.'
Japanese: 岡田渓誌著『摂陽群談』（元禄14年（1701年）刊）には、「名塩鳥の子土、同所にあり。この土を設け鳥の子紙に漉き交え美を能くす」とある。
English: The soil mixed with paper is taken from a stratum called the second tuff of the Miocene Kobe group at the foot of a mountain, from a terrace in Najio, which is exposed here and there.
Japanese: 紙に漉き入れする泥土は、名塩の山麓や段丘に神戸層群第二凝灰岩と呼ぶ地層があり、所々に露出している。
English: The tuff is a rocky pile of volcanic ash and sand, and it is very fragile and easy to dig out, and it has various colors such as white, blue, yellow and tan.
Japanese: 凝灰岩は、火山灰火山砂などが堆積してできた岩石であり、石質は非常にもろく、容易に発掘でき、白・青・黄・渋茶などの色目をしている。
English: These soils for torinoko in Najio have names such as Tokubo soil (white), Tenshi soil (天子土) (whitish brown), Kabuta soil (blue), and Jato soil (ginger), and paper was made with one or two soils that was called five-colored torinoko or dyed torinoko.
Japanese: これらの名塩鳥の子土（泥土）には、東久保土（白色）、天子土（卵色）、カブタ土（青色）、蛇豆土（茶褐色）などの名があり、一種または二種を混合して漉きあげ、五色鳥の子、染め鳥の子などとも呼ばれた。
English: The way to mix the soil of Najio into paper is as follows; break the soil into pieces and put it into a hole called tsuchi-tsubo (an earthen jar) of about 40 cm in diameter, add water and knead with a pestle to make it muddy, and grind thoroughly into minute particles.
Japanese: 名塩の泥土を紙に漉き込むには、まず粉砕して土壺と呼ぶ約40センチ四方の穴に入れ、水を加えて土こね棒でこねて泥状にし、さらに微粒子になるまで徹底的にすりつぶす。
English: Put it into a big barrel, add water, stir for an hour and leave it as is, for twenty-four hours.
Japanese: 微粒子にすりつぶした泥土を、大きな樽に入れて水を加えて一時間程攪拌して一昼夜放置する。
English: As a result, only ultrafine particles of a minimal size are suspended in the barrel, and discarding the top water including some of the minute particles and leaving the dregs of the ultrafine particles settled on the bottom, scoop up the middle part of the water rich ultrafine particle suspension, put it into another container and add bittern in order to prevent settling and to help it to adhere and clot to fibers including ganpi.
Japanese: すると樽の中に極小の微粒子だけが浮遊しており、微粒子の少ないうわ水を捨て、底に沈殿している微粒子のカスを残し、その昼間の微粒子の含有の多い水を掬って別の大きな容器に移して、沈殿を防ぎ雁皮などの繊維への密着凝固を助けるために苦汁を加える。
English: With this process, the floating ultrafine particles of Najio soil is mixed into the paper materials as the paper is made.
Japanese: このようにして、水に浮遊している微粒子状の名塩土を、紙料に混入して紙を漉く。
English: After coloring the soil-contained paper, it not only becomes resistant to insect damage and increases the ability of concealment, but also becomes more durable for longer life without turning yellow from light and in fact becomes more beautiful and has a smoother surface over time.
Japanese: 泥土を混入して着色すると、虫害に強く紙の隠蔽性が向上するとともに、日焼けせず長期間の保存に耐える耐候性が向上し、紙の肌がきめ細かくしっとりとした風合いがでる。
English: On the minus side, soil-contained paper is delicate and easy to tear, heavier than other kinds of paper, and furthermore, the letters written by sumi (ink printing) are turn out blurred.
Japanese: 欠点としては、泥土の混入が多い紙は柔軟で破れやすく、他の紙に比べて目方が重く、さらに墨で文字を書くと滲（にじ）むなどといわれている。
English: These disadvantages are specific to the maniai-shi for groundwork which contains more soil, and the high quality maniai-shi and torinoko paper containing less soil, having fewer advantages, were used for various papers such as a colored paper, a paper strips to write waka or other characters on, hankiri paper for a letter, paper for Buddhist sutra writing and for han-fuda bills.
Japanese: これらの短所は、泥土の混入の比率の多い下張り用の間似合紙のことであり、混入比率の少ない高級間似合紙や鳥の子紙になると、欠点が少なくなり、色紙や短冊、書簡用半切り紙、書写用経紙、藩札などに用いられた。
English: The blue doromaniai-shi of Najio was called 'hakushita-maniai' (size-fit paper placed under foil) and used as paper for foil making because it could emphasize the gold color without wrinkling when it was used as an underlay for gold foil.
Japanese: 名塩の青色の泥間似合紙は「箔下間似合」といって、金箔を押す下地に使用すると、金箔の皺がよらず金色が冴えるため、箔打ち紙として使用された。
English: In addition, the blue doromaniai-shi had been used as maniai torinoko paper for fusuma because of its good concealing and age resisting qualities, and it spread widely because it was close to the Kamigata market.
Japanese: さらに青色の泥間似合紙は、隠蔽性の良さと日焼けしにくい特性から、襖用の間似合鳥の子紙として使用され、上方市場に近いことから発展した。
English: The word 'maniai-shi' refers to a paper which is suitable for the width of half ken (which equals to 0.90 m) and it is usually used for fusuma-shoji.
Japanese: 間似合紙は、半間（三尺　90cm）の間尺に合う紙の意で、普通は襖障子を貼るのに用いられる。
English: The width is about 0.94 m or 1 m, which is twice the width of standard Sugihara-gami and Mino-gami, and the height is about 0.36 m or 0.39 m.
Japanese: 横幅は三尺一寸ないし三尺三寸で、標準的な杉原紙や美濃紙の横幅の倍ほどもあり、縦幅は一尺二寸ないし一尺三寸である。
English: The standard conventional karakami was about 0.48 m wide and about 0.33 m high, and 12 karakami were required to cover fusuma-shoji.
Japanese: それまでの唐紙は横幅一尺六寸、縦幅は一尺九分が標準で、襖障子を貼るのに十二枚必要であった。
English: On the other hand, only five or six maniai-shi were enough to cover fusuma-shoji, and its was also called maniai karakami or maniai torinoko.
Japanese: 間似合紙は五枚ないし六枚てで足り、間似合唐紙とか間似合鳥の子ともいわれた。
English: After Shoin-zukuri style prevailed during the Kamakura period, the 'kami-shi,' a specialist in handling fusuma paper, appeared and the work of hyogu-shi (craftsman who pasted cloth or paper on the frame) was divided, kami-shi was also called kyo-ji, taking over its name.
Japanese: 鎌倉時代にはいって書院造りが普及してから、「唐紙師（かみし）」という襖紙の専門家があらわれ、表具師（布や紙を具地に貼る）は分業化され、その名を引き継いで経師ともいわれた。
English: The kyo-ji originally referred to a person who transcribed scriptures and mounted them, and after karakami began to be pasted on shoji, he or she took charge of mounting fusuma as well.
Japanese: 経師とは、本来は経巻の書写をする人のことであり、経巻の表具も兼ねており、さらに唐紙を障子に張るようになって、襖の表具もするようになった。
English: And it seems that along with the domestic production of 'karakami,' he or she widened the field of work to woodblock printing as well.
Japanese: そして、「からかみ」の国産化に伴って木版を摺る絵付けまで守備範囲が拡大したようである。
English: Of course, the 'karakami shoji' at that time was used only in the residences of court nobles and noblemen of prestigious families, and the demand itself was too small to require specialists.
Japanese: むろん当時の「から紙障子」は公家や高家の貴族の邸宅に限られており、需要そのものが少なく、専門職を必要とはしていなかった。
English: In the "Teikin-orai" (Epistolary for Home Instruction) completed from the period of the Northern and Southern Courts (Japan) to the Muromachi period, many names of merchants and workmen are described as 'people who should stay in the castle town' including masters of fusuma-shoji such as kami-shi, kyo-ji, paper making, craftsmen of lacquer ware and handiworks, and craftsmen of gold and silver handiworks, which shows that fusuma-shoji was widespread in the samurai class and they required specialized craftsmen.
Japanese: 南北朝時代(日本)から室町初期に完成した『庭訓往来』には、「城下に招き居えべき輩」として多くの商人、職人の名を列挙しており、襖障子に関係するものとして唐紙師、経師、紙漉き、塗師、金銀細工師などが挙げられており、襖建具が分業化された職人を必要とするほどに、武士階級に相当普及していた事とが知れる。
English: The 'kami-shi' refers to a craftsman who prints patterns on newly made paper by using various techniques.
Japanese: 唐紙師は、漉き上がったかみにさまざまな技法を用いて紋様絵付けを摺る職人のことである。
English: In the "Odawarashu Shoryoyaku-cho" (a list of salaries for of people of various jobs, made under the orders of Ujiyasu HOJO) with Okugaki (postscript) of 1559, there are descriptions of salaries of craftsmen, such as; about 40 kan (absolute unit of currency) for Tobei HASEGAWA, a kami-shi, in contrast to 219 kan for Sozaemon SUDO, the head of craftsmen.
Japanese: 職人衆の知行を記している『小田原衆所領役帳』には、永禄二年(1559)の奥書があり、職人頭の須藤惣左衛門の二九一貫に対して、唐紙師の長谷川藤兵衛は四十余の知行を受けていたことが記されている。
English: On a picture of 'kami-shi' in the "Shichijuichiban Shokunin Uta-awase" (Seventy-one workmen's waka competition) written in 1500, there is a waka written as; 'Although blue thin clouds were drawn on karakami, the moonlight is dazzlingly beautiful underneath. By a kami-shi.'
Japanese: 明応9年（1500年）の『七十一番職人歌合』の唐紙師（かみし）の図には、「そら色のうす雲ひけどからかみの下きららなる月のかげなりから紙師（かみし）」とある。
English: The surface of a wooden printing block with carved patterns is coated with mica or colored pigments, then paper is placed on the block and rubbed with one's palm to print 'karakami.'
Japanese: 「からかみ」は、紋様を彫った版木に雲母または具（顔料）を塗り、地紙を乗せて手のひらでこすって摺る。
English: Mica is a flake-shaped crystal of granite called 'kirara' in the past and is now called 'kira,' and powdered muscovite is used.
Japanese: 雲母は花崗岩の薄片状の結晶の「うんも」で古くは「きらら」、現在では「きら」といい、白雲母の粉末にしたものを用いる。
English: It has a particular pearly sheen and has been used in yamato-e paintings, and mixes well with pigments.
Japanese: 独特のパール状の光沢があり、どの顔料ともよく混ざり、大和絵の顔料として用いられてきた。
English: An ingredient is made with whitewash, a white powdered pigment from a burned shell such as a clam, mixed with kusare-nori glue (an adhesive made from wheat flour) and pigments.
Japanese: 具は、蛤（はまぐり）などの貝（ばい）殻を焼いて粉末にした白色顔料の胡粉に膠や腐糊と顔料を混ぜたものである。
English: For the whitewash, 'white lead' had been used as a white pigment until the Kamakura period.
Japanese: 胡粉（こふん）は鎌倉時代までは「鉛白（えんぱく）」が使われ、白色顔料として使用された。
English: Generally, there were two methods; the former was to put the undercoating with ingredients containing the pigment and print the white patterns by mica (a negative method with the dark ground color and the pattern in white contrasted with the ground), and the latter was to create the undercoating with mica and print with the ingredients (a positive method with white ground color and colored patterns).
Japanese: 一般的には、顔料を混ぜた具で地塗りをして、雲母で白色の紋様を摺る方法（地色が暗く、紋様を白く浮かせるネガティブ法）と、雲母で地塗りして、具で摺る具摺り（地色が白く、紋様に色がつくポジティブ法）も行われた。
English: Based on this, the patterns are printed with various pigments and gold and silver paints added, a tool called a silk sieve is used when the paints are moved to the printing block.
Japanese: これらを基本に各種の顔料や金銀泥（きんぎでい）を加えて紋様が摺られるが、絵具を版木に移すときに絹篩（ふるい）という用具を用いる。
English: A silk sieve is made with a circular wooden frame rolled up a thin board of cedar, a coarse-meshed silk cloth or lawn (a rough, hard and very thin cotton cloth) is spread on the frame, paint is applied using a brush and then the pigments are transferred by pressing the sieve against the printing block.
Japanese: 絹篩は、杉などの薄板を円形状に丸めた木枠に、目の粗い絹布か寒冷紗（粗くて硬い極めて薄い綿布）を張ったもので、これに絵具を刷毛で塗り、版木に軽く押しつけて顔料を移す。
English: Ground paper is placed against the printing block coated with pigments, and the back of paper is rubbed softly with the palm of the hand.
Japanese: 顔料の乗った版木の上に地紙を乗せて、紙の裏を手のひらで柔らかくこする。
English: It is also called 'swimming printing' because the gesture resembles the movement of the breaststroke.
Japanese: その動作が平泳ぎのような手の動きに似ている事から、「泳ぎ摺り」ともいう。
English: The reason why the paints are transferred through the silk sieve and rubbed with a palm for karakami, unlike the process for ordinary woodcuts that directly prints from the block, is that it aims to control the amount of pigments that are transferred and it produces a puffed up texture in the finished product.
Japanese: 版画のように版木に直接絵具を刷毛塗りをせず、から紙は絹篩を通して絵具を移し、手の平でこするのは、顔料の着量の調節が目的で、ふっくらとした風合いのある仕上がりを得るためである。
English: For woodblock printing, other techniques such as empty printing (printing without using paint), Rikyu paper printing, tsukikage printing (moonlight printing) and rosen (waxed-like letter paper) were used.
Japanese: 木版摺りには、この他に空摺り・利久紙（利休紙）摺り・月影摺り・蝋箋などの技法も使用されていた。
English: Empty printing is accomplished by the following method; carve a pattern on a convex printing block and carve the negative image on a concave printing block, place a ground paper on the concave wood block, place the convex wood block over it and apply pressure, this produces a pattern that stands out, and this is the same technique used to emboss images on paper today.
Japanese: 空摺りは、同じ画の版木を陽刻の凸状のものと、陰刻の凹状の二版に彫り分け、陰刻の版木の上に地紙を乗せて、上から陽刻の版木を重ねて圧をかけると、凸状の形が浮き出る技法で、今日のエンボスと同様な形押しの技である。
English: Rikyu paper printing is done by coating with dosa (a liquid made by adding glue to water mixed with alum and the coating on the surface of silk and paper prevents the running of sumi or paint) on kizuki-gami (paper made only from the bark of trees) such as Nishinouchi-gami (Nishinouchi paper) and painting it after being dried.
Japanese: 利久紙摺りは、西の内紙などの生漉き紙に礬水（明礬を溶かした水に膠を加えたもの。絹や紙の表面に引いて墨や絵具のにじみを防ぐ）を引き、乾燥させてから染料を塗る。
English: After pasting a weak rice glue on the printing block, it is placed on the paper, pressure is applied, and the printing block is then removed, a thin layer of the dye from the pattern of the printing block is peeled off and a negative-like refined pattern with fine shading appears.
Japanese: 次に版木に薄い米糊を塗って、紙の上に載せて押しつけてから、版木を取ると版木の紋様の部分の染料が薄くはがし取られ、微妙な濃淡のあるネガ状の風雅な紋様が現れる。
English: Tsukikage printing was a method that used only thin sumi on kizuki-gami such as Hosokawa-gami (Hosokawa paper) or Nishinouchi-gami without using dosa, and it was characterized by the running of sumi and many were produced in Edo.
Japanese: 月影摺りは、細川紙や西の内紙などの生漉き紙に、礬水を引かず、薄墨色だけで紋様を摺ったもので、墨のにじみを特徴とし、江戸で多く作られた。
English: While the Kyo-karakami (Kyoto-type karakami) adopts a method of 'Okiage' (place up) which applies thick amounts of paint using a model paper (cutting out a model from a paper treated with astringent persimmon juice, made with two sheets of paper pasted together), the Edo-karakami (Edo-type karakami) uses a method of dyeing cotton with models to make prints (print-type dyeing with models and dyeing with colored glue).
Japanese: 京からかみの場合は、型紙（紙を貼り合わせて柿渋を塗った渋紙を用いて型を切り抜いたもの）を用いて絵具を厚く盛り上げる「置き上げ」が行われ、江戸からかみでは更紗型染（捺染型染で、染料に膠を加えたもので型染めする）の技法を用いている。
English: Rosen has a pattern which looks as if it is waxed, produced by putting a paper on a printing block curved a pattern and rubbing it over the paper using some hard material.
Japanese: 蝋箋（ろうせん）は、紋様を彫った版木の上に紙を載せて、紙の上から固い物でこすって磨き、あたかも蝋を引いて紋様を描いたような図柄ができる。
English: In addition, there was another method called 'suminagashi,' to disperse floating sumi by dropping resin on the water surface and print it on a paper.
Japanese: また、特殊な技法として、墨を水面に流した上に松脂を滴して、墨を水面に散らしこれを紙に写し取る、「墨流し」という技法もあった。
English: Among the karakami techniques, there is a particular technique called 'momigami,' which is different from paper printed with wood blocks.
Japanese: からかみの技法のなかに、版木などによる摺りものとは異なる「揉み紙」という独特の技法がある。
English: Crumpling paper is a method to produce a feel of cloth and momigami was used as paper for mounting in the tea ceremony during medieval times.
Japanese: 紙を揉むのは、布地の感触をだす技法で、中世に茶道の表具用の紙として揉み紙が使用され、のちにから紙にも揉み紙の技法が採用された。
English: There is a river running from mountain ridges, for example; Mt. Takagamine, Mt. Washigamine and Mt. Shakadani northwest of Kyoto.
Japanese: 京都の西北に連なる鷹ケ峰、鷲ケ峰、釈迦谷山などの山稜から一筋の川が流れている。
English: It runs south between Kitanotenman-gu and Hirano-jinja Shrines, running west, it is joined by the Omuro-gawa River, and then goes south again and is joined by the Katsura-gawa River.
Japanese: 南下して北野天満宮と平野神社の間を抜けて、西流してやがて御室川と合流し再び南下して、桂川に注ぐ。
English: The reason it is called the Kanya-gawa River is that there was the kanyain (also called kamiya-in), a paper mill under the direct control of Zushoryo (the Bureau of Drawings and Books) of the government during the early stages of the Heian period, along this river.
Japanese: 紙屋（かんや）川と呼ぶのは、平安時代の初期に図書寮（ずしょりょう）直轄の官営紙漉き場の紙屋（かんや）院（かんやいんとも言う）がこの川のほとりに設けられたからである。
English: Although there is no clear record showing the location of the kanyain, in the "Yoshufushi" (a history and geographic book on Kyoto written during the Edo period) there is a description of the Shukushi-mura village in the south of Kitano and shukushi (recycled paper) was produced along this river in the past. Therefore, it is called the Kanya-gawa River.'
Japanese: 紙屋（かんや）院の置かれていた位置の明確な記録はないが、『擁州府誌（ようしゆうふし）』には、「北野の南に宿紙（しゅくし）村あり、古この川において宿紙（しゅくし）を製す。故に紙屋（かんや）川と号す。」とある。
English: According to "Nihon Shigyoshi, Kyoto-hen" (the chapter on Kyoto in the history of paper making in Japan), it is also clear that it was near the Kanya-gawa River in the vicinity of the Kitanotenman-gu Shrine.
Japanese: 『日本紙業史・京都篇』によっても、北野天満宮あたりの紙屋（かんや）川のほとりにあったことは確かである。
English: The kanyain, which was a paper mill under the direct control of government, was the center for the techniques of paper making during the Heian period to make a paper using the best techniques available at the time and provide technical instructions for making paper in the provinces.
Japanese: 官営紙漉き場であった紙屋（かんや）院は、平安時代の製紙技術のセンターであり、当時の最高の技術で紙を漉き、地方での紙漉きの技術指導も行った。
English: In "Genji Monogatari" it was expressed as 'beautiful kanya paper,' and its colored paper was praised as 'the colors were gorgeous.'
Japanese: 『源氏物語』には、「うるわしき紙屋（かんや）紙」と表現し、またその色紙を「色はなやかなる」と讃えている。
English: In the Nara period before the kanyain was founded, Zushoryo was also in charge of making paper.
Japanese: 紙屋（かんや）院が設けられる前の奈良時代にも図書寮（ずしょりょう）が製紙を担当していた。
English: In the "Ryonoshuge" (a book of annotation for Yoro-ritsuryo, which was written by KOREMUNE no Naomoto), it's recorded that there were 50 kamiko (hereditary artisans for paper making under government management) in the Yamashiro Province (present day Kyoto Prefecture).
Japanese: 『令集解』には、紙戸五○戸を山代国（山城国・現京都）に置いたと記録している。
English: Yamashiro Province was designated because it was the foothold where the Hata clan, regarded as the maximal group of technical experts, wielded their influence.
Japanese: 山城国に特定したのは、古代における最大の技術者渡来集団といえる、秦氏が勢力を張っていた拠点であったからである。
English: When they first came to Japan, the Hata clan was given land near Gose City, Nara Prefecture from the sovereignty of Yamato.
Japanese: 秦氏の渡来当初は、現在の奈良県御所市あたりにヤマト王権より土地を与えられている。
English: Later, mainstream artisans moved to the Yamashiro Province, and cultivated and reclaimed the Sagano area with techniques of civil engineering and agriculture, forming an group of craftsmen including weavers, woodworkers and metal workers.
Japanese: のちに主流は山城国に移り、土木・農耕技術によって嵯峨野を開墾開拓し、機織り・木工・金工などの技術者を多く抱えて、技術者集団をなしていた。
English: Since there were weavers, it was natural that there were also craftsmen who spun thread out of fibers of hemp or kozo, which were materials used to make clothing in those days.
Japanese: 機織りの技術者がいたことから、当然当時の衣料の原料である麻や楮（こうぞ）の繊維から製糸する技術者もいた。
English: Yarn-making technique is similar to paper making as both use the bast of hemp or kozo, and the process of treating materials is almost the same as that of paper making with only a fine line between making thread from the fibers and making paper from the fibers.
Japanese: 製糸の技術は、麻や楮（こうぞ）の靱皮（じんぴ）繊維を利用することでは、製紙と類似技術であり、原料の処理工程は殆ど一緒であり、繊維を紡ぐか、繊維を漉くかの、まさに紙一重の違いしかない。
English: Based on such technical background, the government of Heijo-kyo (the ancient capital of Japan in current Nara) placed kamiko (the paper making mill entrusted by the government) in Yamashiro Province.
Japanese: このような技術的な基盤のもとに、平城京の政権は、山城国（山代国）に紙戸（官に委託された紙漉き場）を置いた。
English: The kurabe was in charge of procuring goods for Imperial Court and kanga (an office) in the Asuka period, HATA no Otsuchi was appointed to Okura no jo (an officer in charge of the large storehouse), and HATA no Kawakatsu who was kurodo (an officer serving as a secretary of an emperor) of Prince Shotoku built the Hachinooka-dera Temple (later, the Koryu-ji Temple) in Uzumasa, Kyoto.
Japanese: 飛鳥時代の宮廷・官衙の物資調達に任じたのが蔵部で、秦大津父は大蔵掾に任じられ、聖徳太子の蔵人となった秦河勝は京都太秦に峰岡寺（のち広隆寺）を造営している。
English: In the Heian period, HATA no Kimi no Muronari (秦公室成) was appointed to the Zoshi-chojo (the officer in charge of paper making) of the Zushoryo in 811, taking over the position of HATA no Be no Otsutari (秦部乙足).
Japanese: 平安時代に入ると、秦公室成は弘仁二年(811)図書寮（ずしょりょう）造紙（ぞうし）長上であった秦部乙足に替わって、図書寮（ずしょりょう）造紙（ぞうし）長上に任命されている。
English: The Hata clan was deeply related with important posts on paper making from ancient times.
Japanese: 秦氏は、このように古くから、造紙（ぞうし）関係の要職と深くつながっていた。
English: Based on the craftsmen like the Hata clan, domestic production of paper was promoted and Yamashiro Province taking pride in advanced techniques for paper making, played the role as the technical center of Japanese paper, and accordingly, with the increase of paper demand the supply of materials such as hemp and kozo came to depend on the provinces.
Japanese: 秦氏のような、技術者の基盤の上に製紙の国産化が行われ、山城国が製紙の先進技術を誇り、和紙の技術センターの役割を担ったが、紙の需要が高まるにつれ、原料の麻や楮（こうぞ）は地方に頼らざるを得なくなった。
English: With the increasing demand of paper, ironically the system of centralized administration which was established under the ritsuryo legal codes loosened and the supply of paper materials became scarce.
Japanese: 紙の需要が高まるにつれ、皮肉なことに律令制度に緩みがでて、紙の原料の供給が細ってしまった。
English: With technical instruction from kanyain, paper making became popular in various places and kanyain began to experience the lack of materials together with the weakening of the administration's controlling power.
Japanese: 紙屋（かんや）院の技術指導によって、各地で紙漉きが盛んになり、律令制度の統制力の弱体化とも相まって、紙屋（かんや）院は原料の調達が思わしくなくなった。
English: Through these processes, kanyain began to gather wastepaper to make recycled paper.
Japanese: このような経緯で、紙屋（かんや）院は反故紙を集めて漉き返しの宿紙（しゅくし）を漉くようになった。
English: Later, the name kanya-shi became a byword of shukushi, and later shukushi was called Minato-gami (Minato paper) and was made in Sakai and paper called Asakusa-gami (Asakusa paper) was made in Edo, shukushi made in Kyoto was called Nishinotoin-gami (Nishi no toin paper).
Japanese: のちに、紙屋（かんや）紙は宿紙（しゅくし）の代名詞とも成り、のちに堺で湊紙、江戸で浅草紙という宿紙（しゅくし）が漉かれるようになってから、京都の宿紙（しゅくし）は西洞院紙と呼ばれるようになった。
English: In contrast to the decline of paper making because of the difficulty of procuring raw materials caused by the weakening of the administration, Kyoto occupied an important position as the center for paper processing techniques by developing advanced technical skills for processing paper.
Japanese: 京では、紙漉きそのものが、律令体制の緩みによる原料の調達難から衰退したのとは対照的に、紙の加工技術で高度な技術を開発して、和紙の加工技術センターとして重要な地位を占めるようになっていく。
English: There was enthusiasm about processing techniques such as inlaying with gold and silver foil and creating patterns with paints and printing blocks, and providing elegant and beautiful ryoshi for the Heian dynasty.
Japanese: 紙を染め、金銀箔をちりばめ、絵具や版木で紋様を描くなど、加工技術に情熱を傾け、雅で麗しき平安王朝の料紙を供給していった。
English: Sophisticated processing techniques in Kyoto supported an elegant culture during the Heian dynasty.
Japanese: 京における高度な紙の加工技術が、平安王朝のみやびた文化を支えたともいえる。
English: From the plentiful senses of color, noble purple and attractive deep reds were preferred for dyed paper.
Japanese: 豊かな色彩感覚は、染め紙では高貴やかな紫や艶かしい紅がこのんで用いられるようになった。