nntsuzu/KFTT huggingface dataset:
English: As for recreational activities and competitive sports, there are mainly the British equestrianism originated in Europe and the Western equestrianism originated from cowboys' riding in America.
Japanese: スポーツあるいは競技種目としては、ヨーロッパに端を発するブリティッシュ馬術と、アメリカ大陸におけるカウボーイ乗馬を起源とするウェスタン馬術の二つが主流をなしている。
English: The European equestrianism had been originally developed in ancient Greece; a work by Xenophon is known as the oldest equestrian textbook; the modern equestrianism was developed in the Renaissance of Italy through appreciating Xenophon's work.
Japanese: ヨーロッパの馬術は古代ギリシアで発達し、クセノポンの著作は現存する最古の馬術書として知られているが、近代馬術はルネサンス期のイタリアでクセノポンの再評価から始まった。
English: In the eighteenth century, François Robichon de la Guérinière of France organized that equestrianism, and at present he is called 'kindai bajutsu no chichi' (the father of the modern equestrianism).
Japanese: 18世紀フランスのド・ラ・ゲリニエールは、この流れを集大成し「近代馬術の父」と呼ばれている。
English: In the nineteenth century, Gustav Steinbrecht of Germany laid the foundation of the German equestrianism whose riding and schooling techniques became the base of present dressage.
Japanese: また、19世紀ドイツのシュタインブレヒトは現在のドイツ馬術全盛の基礎を築いた馬術家として知られており、彼らの騎乗法・調教法が今日の馬場馬術の基礎をなしている。
English: In the early twentieth century, an equestrian captain of Italy, Federico Caprilli invented a new riding style in which the stirrups are shortened and the rider leans forward; at present, his style is used broadly by the jumping riders and the eventing riders.
Japanese: 一方、障害飛越競技、総合馬術の分野では、20世紀初頭、イタリア騎兵将校のカプリリーが編み出した、鐙を短くして上半身を前傾させる騎乗法が広く採用されている。
English: The Japanese classical equestrianism have become obsolete in Japan and at present only some learned people are practicing that riding; at the shootings of Japanese costume dramas including the famous Sunday evening dramas of NHK, almost all the actors adopt the British equestrianism or the Western equestrianism.
Japanese: 日本の古来からの馬術は日本でもほとんど廃れ、一部の研究家が実践するにとどまっている（時代劇や大河ドラマなどでも乗馬シーンのほとんどは、ブリティッシュかウェスタンの馬術によっている）。
English: The British equestrianism and the Western equestrianism are very different in the techniques and the styles, but the respect for horses is a heart common to them both.
Japanese: 上二者は技術もスタイルも大きく異なっているが、双方に共通する最も大きな特徴は愛馬精神の尊重である。
English: In the modern Olympic Games, the equestrianism is the sole event using animals and also the sole event not separating male athletes and female athletes.
Japanese: 近代オリンピックでは動物を使用する唯一の種目であるとともに、選手の男女が区別されない唯一の競技でもある。
English: In the Olympic Games, dressage, jumping and eventing are performed; in the world championships, para-equestrian dressage, endurance and driving are added to them.
Japanese: なお、オリンピックでは、馬場馬術、障害飛越競技、総合馬術の3種目が行われるが、世界選手権大会ではこれらに加え、軽乗競技、エンデュランス馬術競技、馬車競技の計6種目が行われる。
English: In the Paris Olympic Games of 1900, equestrian high jumps and long jumps were performed, but they were no longer performed since then because of a high risk of tumbles and falls.
Japanese: かつて、パリオリンピック(1900年)では「乗馬走り高跳び」「乗馬走り幅跳び」の2種目があったが、転倒・落馬の危険が高いため、この回のみで廃止された。
English: In the Antwerp Olympic Games of 1920, equestrian figure (of individuals and teams) was performed, but it was abolished after that.
Japanese: アントワープオリンピック（1920年）では「乗馬フィギュア（個人・団体）」の種目があったが、この回のみで廃止された。
English: For a long time, in the modern Olympic Games, only military men had the right to enter the equestrian events; in the Helsinki Olympic Games of 1952, male athletes except military men and female athletes could enter the events for the first time.
Japanese: 近代オリンピックにおいては、ヘルシンキオリンピック（1952年）にて軍人以外の男子および女子の参加が認められるまでは、馬術は軍人だけが参加できる競技であった。
English: In the Meiji era, the Japanese Imperial Army (refer to 'the Military Equestrian School of Japan') discarded the Japanese traditional equestrianism, adopted mainly the European equestrianism, and developed it.
Japanese: 明治以降、日本での馬術は、伝統の馬術を廃して西洋馬術を主に、大日本帝国陸軍（陸軍騎兵学校を参照）において導入し発達したという経緯がある。
English: The kyaku (the rider's legs) are important for the communication with the horse and managing the horse to go forward.
Japanese: 脚の馬腹との接触は人馬のコミュニケーションにおいて重要で、馬を推進させる方向に働く。
English: In Japan, the bajutsu (equestrianism) had been one of the Bugei Juhappan (the eighteen important military arts) and essential for the medieval bushi (swordsmen).
Japanese: 日本での馬術は弓馬の道、武芸十八般にも数えられているように、中世の武士にとって必須科目であった。
English: As for the reasons, in the long Edo period, there weren't many bloody wars, and the bushi class was required more political ability than the ability for the military arts, what's more, there weren't many equestrians nor rich bushi who could afford to learn the equestrianism.
Japanese: その要因として、長きに渡った平安な世の中であったこと、武芸より政治的手腕を重視されるようになったこと、乗馬できる人がごく限られていたこと、馬術を教われるほどの財産を所持していない者が多かったことなど様々である。
English: In the past, horses had been considered to be one of weapons, such as swords and guns, therefore, the people except for the bushi class, such as tradesmen and peasants, had been forbidden to ride horses.
Japanese: 日本において馬とは、刀剣や鉄砲と同じように兵器として扱われていたので、武士以外の身分（商人や農民）などは通常、乗馬することを禁止されていた。
English: The horseshoes had been unknown, so the horses had put on waraji (straw sandals) or nothing since their bare hooves were solid enough.
Japanese: 特色として、蹄鉄が伝えられていなかったので、わらじをはかせていたか、蹄が硬いので何もはかせずに乗っていたことがあげられる。
English: As for other features of the Japanese traditional equestrianism, the techniques for the castration had been unknown as well; people respected male horses vigorous enough to bite people especially at wars; since the bushi always wore long and short swords, they rode the horses from the opposite side to the way of the European equestrianism.
Japanese: また、去勢の技術が伝えられていなかったこと、戦場には人を齧るくらい元気な牡馬が尊ばれたこと、大小の刀を帯びる影響で、乗馬位置が西洋馬術と反対であることなどもある。
English: Since it had been developed reflecting the manners of the aristocracy, the accuracy and the beauty of the riding are considered to be important.
Japanese: 貴族社会のたしなみを反映した流派であり、運動の正確さ、美しさなどを重視する。
English: The decencies of the equestrians are important as well; at the formal events, it requires the formal dress such as a tailcoat and a top hat or regimentals.
Japanese: 馬術家の礼儀・作法も重んじており、公式の場では燕尾服・山高帽や軍服などの正装を要求する。
English: The female rider is required to wear a long dress and a hat with a flower on the breast, and to use a side-saddle, but, at present, that dress is rarely seen.
Japanese: ほとんど見られることはないが、女性の正装はロングドレス、つば付きの帽子で胸に花をつけサイドサドルを用いる。
English: Generally, the jumping rider is required to wear an evening dress (including hacking jacket and tweed jacket in the equestrianism world) and a hard hat; the dressage rider is required to wear an evening dress or a tailcoat and a top hat.
Japanese: 一般的に障害競技では乗蘭にヘルメットスポーツ用ヘルメット、馬場馬術競技では乗蘭、あるいは燕尾服に帽子が義務付けられる。
English: The dress code is basically different with classes; the tailcoat is required in the top class competitions and the evening dress is required in the other competitions.
Japanese: 基本的には、収縮課目であるか否かで乗蘭と燕尾服の使用が分かれるような慣習があり、収縮課目では燕尾服とするのが一般的である。
English: There are black jackets and red jackets; normally the black jackets are worn since the red jackets are originally for the leader of fox hunting.
Japanese: 乗蘭には黒と赤があるが、赤は本来、狐狩りのリーダーが着るものであり、通常は黒の乗蘭を用いる。
English: In the British equestrianism, the rider tightens the rein to control the horse closely; this is the basic feature of the riding style.
Japanese: 乗馬スタイルは、手綱を比較的緊密に用いて馬への細かい指示を可能にしている。
English: Most of the events played in the formal competitions including the Olympic Games originate from the British equestrianism.
Japanese: オリンピックをはじめとした、公式の馬術競技で競われる種目のほとんどはブリティッシュ馬術に由来する。
English: It had been developed by the cowboys who had to ride long-distance in the unexplored land.
Japanese: 未開拓の新大陸で長距離の騎乗を行うことを目的とした、カウボーイ乗馬に端を発する馬術である。
English: The rider should wear a cowboy hat, jeans and a belt with a buckle as the formal dress of the Western equestrianism.
Japanese: 服装も、カウボーイハット、バックル、ジーンズとウェスタンファッションが正装である。
English: The rider uses a durable saddle to prevent getting tired from riding for a long time; the distinctive riding style is called 'loose rein'; the rider looses the rein to make the horse move the head and keep its balance, and controls the horse by touching the rein to the horse's neck without directly pulling the bit.
Japanese: 長時間座っても疲れない堅牢な鞍（サドル）を使用し、手綱はルーズレインと呼ばれ、馬が自由に首を動かしバランスをとりやすい様ゆるませ、ハミに直接プレッシャーを掛けるのではなく、手綱（レイン）を馬の首に触れてコントロールする乗り方が特徴。
English: This is a good way to make the most of the horse's reflexes which are required in some events such as cutting.
Japanese: これは、カッティング競技などで必要な馬の反射神経を最大限に活用させるための工夫でもある。
English: There are various events such as Western horsemanship, reining, barrel racing, and cutting.
Japanese: ウエスタンホースマンシップ・レイニング・バレルレーシング・カッティングなどの競技も存在する。
English: Generally Western riders are considered to control the horse with one hand, but it is an advanced technique which is originally for cowboys to use the other hand for their workings; so the riders basically rein with both hands at the normal competitions except the top class competitions and at the basic practices.
Japanese: 一般的に、ウェスタンにおいては片手手綱での騎乗も特長のひとつとされているが、これは利き手を作業のためにあけておくために必要な高等技術であり、上級競技以外の競技や基礎練習などでは、両手手綱が基本となる。
English: In the British equestrianism, some events, such as polo and Royal Canadian Mounted Police Musical Ride, riders have to rein with one hand.
Japanese: 日本でそういわれているが、ブリティッシュでも、ポロ、王室カナダ騎馬警察ミュージカルライドなどの科目においては、片手手綱が必須である。
English: Some Japanese say that in the Western equestrianism there is no correspondence to the rising trot of the British equestrianism, but the Western equestrian performs 'the posting trot' which corresponds to the rising trot.
Japanese: また、ブリティッシュ馬術における軽速歩が無いといわれることもあるが、日本でそういわれているだけのことで、PostingTrotといわれる乗り方がある。
English: The posting trot is originally a term of the British equestrianism and recently it is broadly adopted by the British equestrian.
Japanese: ただ、PostingTrotはブリティッシュの用語である上、ブリティッシュでもこの歩法はかなり最近用いられるようになったものである。
English: However, it was evolved by the Western equestrian in America and it is not found in other equestrianism including the Spanish traditional equestrianism.
Japanese: それ以前には存在しないし、伝統的なスパニッシュ馬術などにも存在しない。
English: Following the defeat at World War Ⅱ, the Japanese cavalry was abolished, and one of the equestrian strongholds was lost at the same time.
Japanese: 第二次世界大戦の敗戦により、日本では兵科としての騎兵は廃止され、馬術の拠点の一つが失われた。
English: The equestrianism requires horses and facilities, such as riding grounds and stables; in postwar Japan, the riders of universities played an important role to continue the equestrianism, since there were few equestrian clubs, although at present they are many clubs.
Japanese: 馬術には、馬匹と馬場・厩舎等の設備が不可欠であり、乗馬クラブが平成の現在ほど普及していなかった戦後期には、学生馬術が馬術競技を行う主体として重要であった。
English: The present universities' clubs are still important for students to begin riding and to aim to enter the competitions.
Japanese: 現在でも、乗馬、特に馬術競技を始めるきっかけとして、大学体育会馬術部の存在は大きい。
English: In 1928, the first All Japan University Equestrian Championship was held for student riders of universities' clubs.
Japanese: 大学体育会馬術部の競技会として、1928年（昭和3年）に第1回全日本学生馬術選手権大会が開催された。
English: In 1957, All Japan University Equestrian Federation was organized as an association that belongs to Japan Equestrian Federation.
Japanese: 1957年（昭和32年）には、日本馬術連盟の傘下団体として、全日本学生馬術連盟が組織された。
English: At present, All Japan University Equestrian Federation holds the All Japan University Prize for dressage, jumping and eventing, the All Japan University Equestrian Championship, and the Championship for Female Equestrian.
Japanese: 全日本学生馬術連盟は、全日本学生賞典馬場馬術・障害馬術・総合馬術および全日本学生馬術選手権・女子選手権を主催している。
English: "Kyo-shikki" is a handicraft of lacquerware produced in Kyoto City.
Japanese: 京漆器（きょうしっき）とは、京都市内で生産される工芸品的な漆器のこと。
English: Kyo-shikki is a lacquerware produced on the basis of values as 'arts and crafts' rather than as serving dishes for daily use, being made from thinner wood grain, treated with foundation more carefully and given more sophisticated and elegant makie (Japanese lacquer sprinkled with gold or silver powder) on it than lacquerware produced in any other area of Japan.
Japanese: 京漆器は全国の漆器産地の中でも、とりわけ薄い木地を用い、入念な下地を施し、洗練された優美な蒔絵が施された、日常的に使う器というよりも「美術工芸品」としての価値観に基づいてつくられる漆器である。
English: Kyoto has been the center of production of lacquer craftworks in Japan as well as of politics and culture since the transfer of national capital to the city of Heian-kyo, supplying high-quality lacquerware made with a great deal of time and care, from religious service accessories to tea utensils of the royalty and nobility.
Japanese: 京都は平安遷都以後現在に至るまで、政治・文化と同様に日本の漆工芸の中心地として王朝貴族の祭祀装飾品から茶道具まで特に手間隙をかけた完成度の高い漆器を送り出してきた。
English: Having developed side-by-side with court nobles and mercantile houses who are its customers, Kyo-shikki is extremely expensive compared with lacquerware produced in the other areas, with a design which is thin, delicate and elegant.
Japanese: 顧客である公家や商家と隣接し発達した京漆器は薄く繊細で気品高いデザインをもち、他産地の漆器に比して極端に高価である。
English: As these handicrafts of Kyo-shikki were used as presents between daimyos (Japanese territorial lords) and spread all over Japan, they have influenced the origin and manufacture process of the other local lacquerware.
Japanese: こうした京漆器の工芸品は大名同士の贈答品にも用いられ全国に伝播したことから、地方漆器の起源や生産工程に影響を与えている。
English: As the manufacturing technique of lacquerware spread across provincial areas and local lacquerware was created, the process of "Honkataji" was passed on to manufacturing processes of Echizen lacquerware, Yamanaka-nuri and Wajima-nuri lacquerware, but it is common practice to mix rice glue into foundation in Echizen, Yamanaka and Wajima because work efficiency concomitant with production volume is required.
Japanese: 「本堅地」の工程は漆器製作の技術が地方に広まり、地方産地が形成されていくと共に越前漆器、山中塗、輪島塗などの製作工程にも受けつかがれていくが、それらの産地では生産量に見合った作業効率が必要になるために下地材に米糊などを混合することが一般的である。
English: It is beneficial to add rice glue because application of foundation to the artifact and its cure control are made easier and as a result workability is improved.
Japanese: 米糊の添加は、器物に下地を付ける作業とその硬化管理を容易にすることができ、作業性をあげるメリットがある。
English: However, durability is lowered by blending resin (lacquer), fillers such as Jinoko and Taonoko, and starch, which has less resistance to water.
Japanese: しかし樹脂分の漆、地之粉や砥之粉等のフィラーの他に、耐水性に乏しい澱粉を配合することで下地の耐久性は低下する。
English: On the other hand, in the case of Kyo-shikki good at production of small lots with a high unit price, percentage of lacquer in the whole foundation is about 50 percent by weight (wet)/60 percent by weight (dry) because rice glue is not added, so the artifacts are costly but durable thanks to foundation which contains much resin.
Japanese: 一方、単価の高い小ロット品の生産を得意とする京漆器では米糊などを添加しないため、下地材全体に対する漆の割合が50重量％程度（wet重量、固形分では60重量％程度）と、樹脂分の高い下地を施すためコストはかかるが堅牢な器ができる。
English: Japanese-style painter is a term used as an antonym to Western-style painter as Japanese paintings separated into Western-style and Japanese-style after the Meiji period.
Japanese: 日本画家（にほんがか）とは明治時代以降、日本の絵画が洋画と日本画のジャンルに分かれたため、洋画家の対義語として使われる言葉。
English: It is a school which counters prosperity of Western-style paintings after the Meiji period, but is not a little influenced by Western-style.
Japanese: 明治以降の洋画全盛に対抗する一派であるが、もちろん洋画からも少なからず影響を受けている。
English: Since this term is not used for painters before modern times, Eitoku KANO and SESSHU are not called Japanese-style painters.
Japanese: 近代以前の作家にはこの言葉を用いないので狩野永徳や雪舟を日本画家と呼ぶことはない。
English: Bunshichi Mottoi was created by Encho Sanyutei, and is one of human-interest stories among rakugo (traditional comic story telling).
Japanese: 文七元結（ぶんしちもっとい）は、三遊亭圓朝の創作で、落語のうち、人情噺のひとつ。
English: It is considered as a difficult topic because many characters appear in the story, while the story is long, and humor has to be added to a moral story.
Japanese: 登場人物が多く、長い演目であり、情の中におかし味を持たせなくてはならないという理由から、難しい一題とされる。
English: It is performed in Kabuki (traditional drama performed by male actors) with the title, "Ninjo banashi Bunshichi Mottoi" (human-interest Kabuki story of Bunshichi).
Japanese: 『人情噺文七元結』（にんじょうばなしぶんしちもっとい）として歌舞伎でも演じられる。
English: It is said that the story was created to express the sprit of a native of Edo in an exaggerated way as the author didn't like country samurai from Saccho (Satsuma Domain and Choshu Domain), who walked around like they owned the world, from the end of Edo period through until the early Meiji period.
Japanese: 成り立ちは、幕末～明治初期、薩長の田舎侍が我が物顔で江戸を闊歩していることが気に食わず、江戸っ子の心意気を誇張して魅せるために作ったとされる。
English: SANYU group often picked up this story, and successive Oshinuchi (rakugo story teller in the highest grade) including Enu SANYUTEI (first generation), Enkyo TACHIBANAYA (the fourth generation), Ensho SANYUTEI (the fifth generation), Ensho SANYUTEI (the sixth generation), Shinsho KOKONTEI (the fifth generation), Shincho KOKONTEI, and Hikoroku HAYASHIYA (Shozo HAYASHIYA) were excellent at this story telling.
Japanese: 三遊派のネタとして、三遊亭圓右初代、橘家圓喬(4代目)、三遊亭圓生(5代目)、三遊亭圓生(6代目)、古今亭志ん生(5代目)、古今亭志ん朝、林家彦六（林家正蔵）など歴代の大真打が得意とした。
English: According to records, Encho called the brothel 'Sanozuchi' instead of 'Kadoebi' in his performance.
Japanese: 「角海老（かどえび）」は「佐野槌（さのづち）」と圓朝が演じた記録もある。
English: Chobei was a skilled plasterer, but he didn't work and was in debt because he hooked on gambles.
Japanese: 左官の長兵衛は、腕は立つのだが、無類のばくち好きが高じて、仕事もせずに借金を抱えている。
English: It was the day close to the end of a year, Chobei came home only with a hanten (a short coat originally for craftsmen worn over a kimono) as he was deprived of all his belongings because he severely lost his money for gambling.
Japanese: 年の瀬も押し迫るある日、前夜の負けがこんで、身ぐるみ剥がれて半纏一枚で賭場から帰された。
English: While he had a quarrel with Okane, a messenger from Kadoebi, a big brothel, which Chobei often visited, came up.
Japanese: どうしたのかと、夫婦喧嘩をしているところに、普段より世話になっている吉原の女郎屋の大店、角海老から使いのものがくる。
English: Chobei asked the messenger to come again as he was in the middle of something, and then the messenger told that Ohisa was in the place of the madam of Kadoebi.
Japanese: 取り込み中だから後にしてくれというと、他でもない、その娘のお久のこと、角海老の女将の所に身を寄せている。
English: Chobei put on a piece of Okane's kimono and went to Kadoebi, then he learned that Ohisa had asked Okado to buy her out to earn money so that Chobei would be reformed.
Japanese: 女房の着物を一枚羽織って角海老へ行ってみると、お久は、身売りをして金を工面し、父に改心してもらいたいので、お角のところへ頼み込んだのだという。
English: The madam, Okado gave Chobei the money, fifty ryo (currency unit), saying that she would keep Ohisa around her, without having her prostitute until the last day of the year, but if he doesn't return the money by the last day of the year, she will have Ohisa prostitute in her brothel, even if he returned the money only one day late.
Japanese: 女将は、自身の身の回りをさせるだけで店には出さないから、次の大晦日までに金を貸してやるが、大晦日を一日でも過ぎたら、女郎として店に出すという約束で、長兵衛に五十両の金を渡す。
English: When Chobei, who was so ashamed, but reformed, was about to cross Azuma-bashi Bridge, he ran into a man who was about to fall off the bridge to drown himself.
Japanese: 情けない思い、しかし改心しきった長兵衛が、帰り道に吾妻橋にさしかかると、身投げをしようとしている男にでくわす。
English: He was ordered to go and collect money, and had the money picked by someone, then he thought he would compensate it with his life.
Japanese: お遣いに頼まれ、取りにいった売り上げをすられたので、死んでお詫びをしようというところだった。
English: Then, Chobei told Bunshichi that his daughter, Ohisa sold herself out to earn the money, fifty ryo for him.
Japanese: その後、長兵衛は、自分の娘のお久が身を売って五十両を工面してくれたことをはなした。
English: Chobei forced the man to receive fifty ryo to save him, saying that his daughter will not die even if he doesn't return fifty ryo by the last day of the year, and he quickly left.
Japanese: その金でお前の命が助かるのなら、娘は死ぬわけではないのでと、無理矢理五十両を押し付けて、逃げるように帰ってゆく。
English: Bunshichi gingerly came back to his master, and presented the money which was given by Chobei.
Japanese: 文七がおそるおそる主人の元に帰り、長兵衛からもらった金を差し出した。
English: The master incredulously asked him where he obtained fifty ryo, presenting him another fifty ryo, which was turned in to his place after it had been left in the place where Bunshichi went to collect the money and was so absorbed in Igo (board game of capturing territory), and Bunshichi hurriedly confessed the whole story.
Japanese: それはおかしい、お前が遣いにいった先で囲碁に熱中するあまり、売り上げをそっくりそのまま忘れてきてしまったものを、先方は既に届けてくれて金はここにある、一体どこから、また別の五十両が現れたのかと、主人が問いただすと、文七はことの顛末を、慌てて白状する。
English: On the following day, Uhei made some arrangements and visited Nagaya (tenement) where Chobei lived with Bunshichi.
Japanese: 翌日、卯兵衛は何やら段取りを済ませ、文七をお供に長兵衛の長屋へと赴く。
English: Uhei explained to Chobei how it happened, and intended to return fifty ryo to him.
Japanese: 実は文七が粗相をやらかし…と、事の次第を説明し、五十両を長兵衛に返そうとする。
English: Chobei refused to accept the money saying that once a native of Edo gives something to someone, he can't receive it back.
Japanese: だが、長兵衛は、江戸っ子が一度出したものを受け取れるか！と受け取らない。
English: After arguments, Chobei eventually accepted the money, and Chobei offered to adopt Bunshichi as his child and to make a relationship with Omiya as his relative in connection with this incident.
Japanese: もめた挙句に長兵衛ようやく受け取り、またこれがご縁ですので文七を養子に、近江屋とも親戚付き合いをと。
English: They shared sake toast, and called Ohisa, who was redeemed by Omiya, to offer them some snacks for sake.
Japanese: 祝いの盃を交わし、肴をと、表から呼び入れたのが、近江屋が身請けをしたお久。
English: Thereafter, Bunshichi and Ohisa married, and they opened a branch shop of Omiya, Motoyui shop (shop of paper cord for tying the hair).
Japanese: 後に、文七とお久が夫婦になり、近江屋から暖簾を分けてもらい、元結いの店を開いたという。
English: It protects the blade to keep its sharpness, and insulates it to prevent things around it from being damaged by the blade, while ensuring safety in storage or transport.
Japanese: 刃先を鋭利に保つために保護するとともに、刃が周りを傷つけないように隔離し、保管や携行中の安全を確保する機能を持つ。
English: In addition to the traditional materials such as leather, wood, animal horn, cloth and metals, plastics are also used for scabbards these days.
Japanese: 材質は、伝統的には革、木、獣の角、布、金属などであるが、現代では合成樹脂が使われることもある。
English: In swords including katana (single-edged sword), ken (or tsurugi, double-edged sword), spears or naginata jutsu (art of Japanese halberd), it constitutes the accouterment of a sword along with the hilt (tsuka) and sword guard (tsuba).
Japanese: 刀や剣、槍、薙刀術等の刀剣類では柄、鍔（つば）などと共に刀装（刀剣類の外装部分）を構成する。
English: In wooden scabbards (usually covered with cloth or leather) or leather scabbards, metal fittings are often used.
Japanese: 木製の鞘（布や革で覆われることが多い）や革製の鞘は、一部に金属が使われることも多い。
English: Especially, vulnerable parts such as openings and tips (kojiri) of scabbards are strengthened by metals, and hanging rings for taiken (to wear a sword) and decorative fittings are sometimes added.
Japanese: 特に刃物の差し入れ口や鞘の先（鐺：こじり）の部分は、傷みやすいため金属で補強され、帯剣（帯刀）のための吊り金具や装飾用の金具が着けられることもあった。
English: In 19-century Europe, scabbards made exclusively of metals were popular.
Japanese: 尚、19世紀のヨーロッパでは、全て金属でできた鞘がポピュラーになった。
English: Although such scabbards deteriorated sharpness of blades, they were dominant until they were replaced with those made of leather or wood and until the end of the 19th century.
Japanese: これは、刃先の切れ味を悪くしてしまうという欠点は持っていたものの、革や木製の鞘に取って代わり、19世紀が終わるまでの主流を占めた。
English: Haiyo (carrying a sword) refers to the practice for nobility, knights or samurai to wear a single- or double-blade sword as a token of rank in time of peace, or as a weapon in time of war.
Japanese: 刀や剣を貴族や騎士、武士などが身分の証として平時に身に帯びたり、戦に赴く場合に身に着けることを佩用（はいよう）と言う。
English: Because the sword should not obstruct any action and must be ready to use when necessary, it was usually hung on the left waist both in the East and in the West.
Japanese: これらは行動の妨げにならず、必要時には迅速に使用できなければならないため、抜きやすさから、洋の東西を問わず左の腰部に吊り下げられる形式が多かった。
English: In the West, a crisscrossed shoulder belt fitted with a scabbard was also worn in addition to the waist belt for carrying a sword.
Japanese: また、西洋においては腰に帯剣用のベルトを巻く他に、肩からたすき掛けにしたベルトに、鞘を取り付ける形式もあった。
English: Short swords were carried in various forms, on the abdomen, right waist, lower back, chest or leg, depending on their length and use.
Japanese: 短刀や剣といった短寸のものは腹部や右腰部、後腰部あるいは胸部や脚部など、長さや使用目的によって各自が装備形態を工夫したようだ。
English: On the contrary, long swords were carried on the back, or if they are too long to wear, they were sometimes carried by attendants.
Japanese: また、逆に長寸のものは背中に背負ったり、それも無理なほど長大なものは従者が持って付き従うこともあった。
English: Japanese swords from the Sengoku period (period of warring states) to the Edo period were carried by thrusting the scabbards directly through obi sashes, the form of which is called taito.
Japanese: また、戦国時代から江戸時代の打刀期の日本刀は帯に直接鞘を挿し通しており、これを帯刀という。
English: Kings, Gozoku (local ruling family), and high-ranked nobility demanded luxurious exterior decoration for their favorite swords that suit their ranks.
Japanese: 王や豪族、上級貴族といった者たちは、愛刀（愛剣）の外装に、身分に相応しい豪華さを求めた。