nntsuzu/KFTT huggingface dataset:
English: However, there was also anxiety that a performing art, Noh would lose its vitality when only songs each having a very high degree of perfection were played as in those days, and, therefore, new songs were written and played in and after Meiji period.
Japanese: しかし、このように極めて完成度の高い曲目ばかり演じていては、能という芸能から活力が失われるのではないかとの懸念もあり、明治以降も新しい曲目が書かれ、上演されている。
English: For the Shinsaku-Noh in modern days, experimental stage-management that cannot be considered for the traditional songs is often tried and, for example, music by a pipe organ is used as the background music in addition to the hayashi-kata (a traditional music player group) in a work 'Garasha' and two melodies are simultaneously sung in a portion of jiutai (background chorus) in a work 'ABE no Seimei.'
Japanese: 現代の新作能では伝統的な曲目においては考えられないような実験的な演出が試みられることも多く、例えば「伽羅沙」では囃子方の他にパイプオルガンを背景音楽として使用しているし、「安倍晴明」では地謡の一部で同時に二つの旋律が謡われている。
English: As the stage itself, a traditional Noh-stage is not used however, use of a cross in the background of the stage instead of kagami-ita (the back board) ('Giselle') and stage-management to cause the shite (the main character) to be seen as if the shite enters and disappears in a mirror, using a special mirror ('ABE no Seimei') have been tried.
Japanese: また舞台も伝統的な能舞台ではなく、舞台背景に鏡板ではなく十字架を使用したり（「ジゼル」）、特殊な鏡を使用してシテが鏡の中に消えたように見せる演出（「安倍晴明」）などが試みられている。
English: Many of the classical literature works in and before Muromachi period were already employed by Noh works as their subject matters and, therefore, Shinsaku-Noh works employing 'the Tale of Genji,' etc., as their subject matters are difficult to create.
Japanese: 室町以前の古典文学の多くは既に能の題材となっている為、「源氏物語」などの新作能は作りにくい。
English: As to Shinsaku-Noh works created before World War II, many works employing the Sino-Japanese War, the Russo-Japanese War, and the Pacific War as their subject matters were produced ('Takachiho,' 'Kaisen' (marine battle), 'Seiro-no-dan' (Story of Conquering Russia), 'Ko-gunkan' (Imperial battle ship), 'Uchiteshi-yamanu' (shooting goes on), 'Gyokusai' (to die in battle rather than surrender), etc).
Japanese: 第二次大戦前の新作能では、日清戦争や日露戦争、太平洋戦争に題材を取ったものも数多く制作された（「高千穂」「海戦」「征露の談」「皇軍艦」「撃ちてし止まむ」「玉砕」など）。
English: After the World War II, some works were written employing foreign literature works as their subject matters such as 'Fountain of Hawk' written by Yeats.
Japanese: 戦後はイェーツの原作による「鷹の泉」など、外国文学を題材にしたものも書かれている。
English: As to remarkable works, there are: 'Kurenai Tennyo' (deep-red heavenly maiden) which is a spin-off work from a cartoon 'Garasu no Kamen' (glass mask) by Suzue MIUCHI; 'Giselle' which is an adaptation of a modern ballet work of the same name; etc.
Japanese: 珍しいところでは、美内すずえの漫画『ガラスの仮面』のスピンオフ作品である「紅天女」やモダンバレエの翻案「ジゼル」などもある。
English: Shinsaku-Noh has also employed some Japanese literature works as their subject matters such as 'Chieko-sho' (Chieko's sky) by Kotaro TAKAMURA and 'Eiketsu no Asa' (Morning of the Last Farewell) by Kenji MIYAZAWA.
Japanese: 日本文学からは高村光太郎の「智恵子抄」、宮沢賢治「永訣の朝」なども新作能の題材となっている。
English: Yoshimaro DOKI, Kimiko TSUMURA, Minoru TAKENAKA, Masaki DOMOTO, Tomio INAGAKI, and so on, produced many Shinsaku-Noh works.
Japanese: 数多く新作能を手がけた人物として土岐善麿、津村紀三子、竹中実、堂本正樹、稲垣富夫らが挙げられる。
English: This work is one of the representative works of Shinsaku-Noh works written by Rokuro UMEWAKA and has been played for many times.
Japanese: 梅若六郎による新作能の中でも代表的なものの一つであり、再演数も多い。
English: Umewaka-ryu school refers to a school of Noh play which existed only for a period from 1921 to 1954.
Japanese: 梅若流（うめわかりゅう）とは、1921年（大正14年）から1954年（昭和29年）まで存在した能楽の流派。
English: Manzaburo UMEWAKA (the first), Rokuro UMEWAKA (the 54th), and Kasetsu KANZE of Umewaka-ha group seceded from Kanze-ryu school to found Umewaka-ryu school.
Japanese: 観世流から梅若派の梅若万三郎(初世)、梅若六郎(54世)、観世華雪が離脱して創設。
English: Although the head of the Kanze family and the Tokugawa family had moved their base to Shizuoka for a certain period around the Meiji Restoration, they came back to Tokyo in 1875.
Japanese: 明治維新期、観世宗家は徳川家とともに静岡に本拠を移した時期があったが（明治8年に東京に復帰）。
English: The first Minoru UMEWAKA and the fifth Tetsunojo KANZE of Kanze-ryu school continued to observe sarugaku (form of theatre popular in Japan during the 11th to 14th centuries), which corresponds to Nohgaku Theater at present, in Edo or Tokyo for this period.
Japanese: この時期に江戸・東京で猿楽（現在で言う能楽）を守り続けたのが観世流では初世梅若実と五世観世鐵之丞であった。
English: Both families came to an agreement to make the son of the Kujirai family take over the business of the Rokuro UMEWAKA family in order to write off the debt.
Japanese: 鯨井家の子供が梅若六郎家を継ぐことで借金を棒引きにするという取引がなされた。
English: The first Minoru UMEWAKA had issued a license to play the Noh to his disciples in his own right since the beginning of the Meiji period.
Japanese: 初世梅若実は明治に入り、弟子に対し独自に能役者としての免状を発行するようになった。
English: However, the death of the first Minoru UMEWAKA revived the debate between the head of the Kanze family and the Umewaka group about the problem of the license.
Japanese: だが、初世梅若実が死ぬと観世宗家と梅若一門との間での免状問題が再燃した。
English: Consequently, the Umewaka group (the Rokuro UMEWAKA family, the Kichinojo UMEWAKA family and the Tetsunojo KANZE family) was expelled from Kanze-ryu school in 1921.
Japanese: 1921年に梅若一門（梅若六郎家、梅若吉之丞家、観世鐵之丞家）は観世流から除名されることとなった。
English: There was a context in which the Umewaka group at that time was led by three masters, namely, the 54th Rokuro UMEWAKA, Manzaburo UMEWAKA, and the sixth Tetsunojo KANZE, who competed in Noh play with each other.
Japanese: この背景には、当時の梅若一門が実力拮抗する三人（五十四世梅若六郎、梅若万三郎、六世観世鐵之丞）によって指導されていた(という事情がある)。
English: There was also a background in which each disciple recommended his own master for iemoto.
Japanese: (また)、それぞれの弟子たちが自分の師匠を家元に推したという事情がある。
English: Therefore, they could not simply conclude that the 54th Rokuro UMEWAKA should be selected as iemoto.
Japanese: 単純に五十四世梅若六郎を家元とするという形では議論がまとまらなかった。
English: In addition to the severe blow that Umewaka-ryu school suffered, the Tetsunojo KANZE family and the Manzaburo UMEWAKA family returned to Kanze-ryu school in sequence by 1932.
Japanese: 大打撃を受けた梅若流に追い打ちをかけるように、昭和7年までには観世鐵之丞家、梅若万三郎家が次々に観世流に復帰した。
English: But he refused the offer because he could not justify returning to Kanze-ryu school, at least, before his retirement.
Japanese: だが、五十四世は少なくとも自分の代で観世流に復帰するのでは筋が通らないとこれを拒んだ。
English: Umewaka-ryu school could be finally merged into Kanze-ryu school through the mediation of The Nohgaku Performers' Association in 1954 when the 54th Rokuro UMEWAKA had retired to succeed to the second Minoru UMEWAKA, and accordingly the 55th Rokuro UMEWAK had become the head of Umewaka-ryu school.
Japanese: 結局、五十四世が隠居して二世梅若実となり、五十五世梅若六郎が梅若流家元となっていた1954年になって、ようやく能楽協会の斡旋により、梅若流の観世流合流が果たされた。
English: The Yamato Enshu school is one of the Japanese tea ceremony schools headed by the Kobori Gonjuro family, which originated from Masai KOBORI, the third son of Enshu KOBORI (also known as Masakazu KOBORI).
Japanese: 大和遠州流（やまとえんしゅうりゅう）は小堀遠州（政一）の三男小堀政伊に始まる小堀権十郎家に伝わった茶道の流派である。
English: Materials of a mai-ogi are the same as materials of a regular folding fan, and a mai-ogi consists of 10 sticks made of bones, bamboo, or wood, and folding-fan paper.
Japanese: 普通の扇子と材質は同じで、10本ある骨には竹や木、扇面は紙が用いられる。
English: At the same time, the pivot of a mai-ogi has a lead weight so that a dancer can easily handle the fan when he or she throws it or does 'kaname-gaeshi,' a technique in which a dancer holds a fan with his or her fingers and turns it.
Japanese: しかし舞踊では扇を投げたり、指で挟んで回す「要返し」などの動作を行ったりするため、扱いやすいよう要の部分に鉛の重りが仕込まれている。
English: Additionally, the outer two ribs of a mai-ogi are bound to fan paper with thread after they are stuck to each other with glue in order to improve the durability of the mai-ogi.
Japanese: また耐久度を上げるため、親骨と紙は糊で貼られた上に糸で結ばれ強化されている。
English: Some mai-ogi patterns or pictures have some meanings; for example, the design of a mai-ogi represents its owner's current achievement of dance studying at the Inoue school.
Japanese: 舞扇のデザインで稽古の進度を示す井上流のように、デザインに意味を持たせる場合もある。
English: Mai-ogi are not always used in Japanese dances, and some Japanese dance programs need other types of folding fans such as chukei (ceremonial folding fans) and gunsen (fans used by ancient commanders).
Japanese: なお日本舞踊には必ず舞扇が用いられるわけではなく、中啓や軍扇など他の扇子が用いられる演目もある。
English: "Kanjin-Noh" refers to Noh performances which charged admission fees in order to raise subscriptions for the construction or the reconstruction of shrines or temples.
Japanese: 勧進能（かんじんのう）は、社寺の建立、改築などの際に寄付を募るために、入場料を取って公開された能である。
English: It is confirmed that many kanjin-Noh performances were already held in the middle of the 14th century at the latest, during the period of the Northern and Southern Courts (Japan).
Japanese: 少なくとも南北朝時代(日本)の14世紀の半ばには、既に盛んに行われていたことが分かっている。
English: Since kanjin-Noh had a large audience, Kyoto was the major place for its performances when it began, and its stages were set up at the river bank of Kamo-gawa River or precincts of large-sized temples.
Japanese: 多くの観衆を集める都合上、初期は京都を中心に開催され、賀茂川の河原や大寺院の境内などが会場となった。
English: Dengaku (ritual music and dancing performed in association with rice planting) was frequently selected for the program of a kanjin-Noh performance, and "Taiheiki" (The Record of the Great Peace) also described successful kanjin-Noh performances based on Dengaku.
Japanese: 当初は田楽のものが盛んで、『太平記』にも田楽の勧進能が盛況を示した様子が記されている。
English: As time went by, schools of the Yamato Sarugaku (Sarugaku developed mainly in Yamato Province) began to play a key role in kanjin-Noh, and one of their most famous performances was the play performed by Onami and his son Masamori KANZE at Tadasugawara, Kyoto in May 1464, which was sponsored by a Buddhist monk named Yoshimori (善盛) in order to raise subscriptions for the restoration of Kurama-dera Temple.
Japanese: 時代が下ると大和猿楽諸座がその中心となり、有名なのは寛正5年（1464年）4月、京都糺河原における鞍馬寺の再興のための僧善盛の勧進、音阿弥・観世政盛父子の演能である。
English: There were some other well known kanjin-Noh performances of this period such as the play performed by Zenpo KONPARU at Awataguchi in 1505 and the play performed by Sosetsu KANZE at Gojo Tamatsukuri in 1530.
Japanese: 他にもこの時代では、永正2年（1505年）粟田口での金春禅鳳、享禄3年（1530年）五条玉造での観世宗節によるものなどが知られている。
English: Among them, the tayu of the Kanze school was the only performer who was allowed to have a special kanjin-Noh performance by the Edo bakufu (Japanese feudal government headed by a shogun) which could have only once in his lifetime, and this kanjin-Noh performance was called 'Isse Ichidai Noh' (literally, "a Noh play of one's lifetime"), 'Ichidai Noh' (literally, "one generation Noh"), or 'Gomen Noh' (literally, "approved Noh").
Japanese: 中でも観世大夫は、江戸幕府によって太夫一代一度限り許される勧進能を行う特権を持ち、これを「一世一代能」、「一代能」、「御免能」と称した。
English: This kanjin-Noh performance was held for several days, and additionally, this brought a huge profit to the tayu because people in Edo were forced to buy tickets for this performance.
Japanese: これは数日間に渡る興行で、江戸町民は強制的にこの入場券を割り当てられたため、かなりの収益をもたらした。
English: One of famous kanjin-Noh performances of this type is the kanjin-Noh performance played by Motoakira KANZE near Sujikai-bashi Bridge in Edo in 1750 backed up by the shogun, and this kanjin-Noh performance was held for 15 days.
Japanese: 有名なものとしては、観世元章が将軍の後援を得、寛延3年（1750年）に江戸筋違橋で15日間に渡って行った勧進能がある。
English: This long-run kanjin-Noh performance was approved by the bakufu because they took Motoakira's father and grandfather, who did not have Ichidai Noh during their lives, into consideration, and this performance represented his influence after all.
Japanese: これは一代能を行わなかった祖父の分、父の分を加算するとして許されたものであり、元章の権勢を示すものとなった。
English: Kogetsu is a Kyo-gashi (Kyoto style confectionary) manufacturing and sales company whose headquarters is located in Fushimi Ward, Kyoto City.
Japanese: 鼓月（こげつ）は、京都市伏見区に本社を置く京菓子の製造と販売をする会社。
English: They currently have the following three tea shops where they provide their Japanese-style sweets.
Japanese: 鼓月の和菓子を提供する甘味処として、現在下記の3店舗を展開している。
English: This is a term used in Japanese calligraphy history studies, and it refers to paper that Imperial family members and nobles used to make clean copies of their poems according to certain rules at poem parties.
Japanese: 日本の書道史の用語で、皇族、貴族らが歌会などで自らの詠歌を一定の書式に則って清書した用紙。
English: Kaishi, also pronounced as futokoro-gami, is double-folded traditional Japanese paper, and its size is small enough to carry in a pocket.
Japanese: 懐紙（かいし、ふところがみ）とは、懐に入れて携帯するための小ぶりで二つ折りの和紙である。
English: It dates back to the Heian period when nobles used it for various purposes, and it is occasionally used as a kimono accessory or as paper napkins during a Japanese style meal.
Japanese: 古くは平安時代より貴族階級において様々な用途で使われており、現代でも和装の際や和食などの席で使用することが多い。
English: Guests at a tea party use kaishi as a plate for individual servings when the host serves omogashi (moist sweets) and higashi (dry sweets).
Japanese: 出される主菓子および干菓子を取り分ける際に、客側が手元の皿代わりに用いる。
English: When they use kaishi as a plate, they place a sheaf of folded kaishi making sure its folded part comes to the front side, and they use the top right or the top left of the paper to clean off their chopsticks after eating the sweets.
Japanese: この際、束のままでわさ（折り目のある側）を手前に置いて扱い、使い終わると右肩か左肩で箸を拭う。
English: Once they finish eating the sweets, they turn over only one piece of kaishi and put the rest of the kaishi into the inside of the front flap of kimono or a sleeve of kimono, being careful not to spill powder of the sweets.
Japanese: 食べ終わった後は下から一枚だけめくり返して、粉などが落ちないように注意して懐や袂にしまう。
English: At a usucha (thin tea) party, people clean off the lip of a tea bowl with their fingers after finishing the tea, and then they take kaishi from the inside of the front flap of the kimono in order to wipe their fingers with it.
Japanese: 薄茶では、飲み終わった後に茶碗の飲み口を指でぬぐい、その指を懐の懐紙で清める。
English: At a koicha (thick tea) party, people directly use kaishi or a special cloth (or a piece of paper) called kojakin to clean off the lip of a tea bowl.
Japanese: 濃茶の場合は、茶碗の飲み口を直接懐紙で、または小茶巾と呼ばれる専用の布や紙でぬぐう。
English: Men's kaishi is approximately 20.6 centimeters by 17.5 centimeters, and women's kaishi is generally 17.5 centimeters by 14.5 centimeters.
Japanese: 大きさは男性用が17.5×20.6cm程度、女性用が14.5×17.5cmのものが一般的。
English: Although there are various colors and patterns used for kaishi, most of men's kaishi is solid white, and fewer shops deal in colorful and patterned kaishi for men, as compared to women's kaishi.
Japanese: 色や柄はさまざまだが、男性用は白無地が圧倒的に多く、女性用ほど多様な色柄を扱っている道具屋は少ない。
English: Kaishi whose one side is bag-shaped is also available, and this type of kaishi is useful to wrap leftovers of sweets and carry them back.
Japanese: 食べ残しの菓子などを包んで持ち帰る際に便利なよう、片側が袋状になったものもある。
English: Moist sweets are served in many tea ceremony parties from spring through autumn, and the moisture of such sweets may run through regular kaishi.
Japanese: また、春から秋にかけて出されることの多い、水分を多く含む菓子の場合、普通の懐紙では水気が滲み通ってしまう。
English: In such a case, people prepare a pile of some pieces of thin paper called tracing paper or use special water-resistant kaishi.
Japanese: そのため、トレーシングペーパーと呼ばれる半透明の薄い紙を重ねるか、防水加工がされた専用の懐紙を用いる。
English: The host of a tea ceremony party does not provide kaishi because it is used mainly by guests, and basically, the guests should put kaishi and other required items into a fukusa basami (pouch for a silk wrapping cloth and other small items used for the tea ceremony), which is also called kaishi ire (literally, "kaishi pouch"), and bring it to the tea ceremony party.
Japanese: 主に客側が使うため、亭主側が用意するものではなく、基本的には客がそのほかの必要な道具などとまとめて袱紗挟み（懐紙入れ）に入れて持参する。
English: In case of their not having any kaishi, reception clerks may prepare some kaishi and kuromoji (picks for sweets) upon request.
Japanese: 持ち合わせがない場合は、受付などで相談すれば懐紙と爪楊枝黒文字を準備してくれることがある。
English: In addition, guests usually do not have to bring kaishi when they participate in an oyose tea party (a tea ceremony party with a large number of attendants) which is held for ordinary tea fans.
Japanese: また、一般客を対象にした大寄せの茶会などでは懐紙自体を持参する必要がない場合も多い。
English: In such a case, a single piece of paper on which the name of a kashitsukasa (sweets' maker) is printed is sometimes used as well as hon-kaishi.
Japanese: その場合、本懐紙の他に、菓子司の名入り一枚ものの紙が使われることもある。
English: Fukusa basami, also referred to as Kaishi ire (literally, Japanese pocket tissue pouch), is a generic name given to pouches used to put together and carry small items necessary for tea ceremony lessons or tea ceremony parties.
Japanese: 袱紗挟み（ふくさばさみ）または懐紙入れ（かいしいれ）とは、茶道の稽古や茶席において必要となる小物を一まとめに入れて携帯する袋の総称である。
English: Fukusa basami pouches are comparatively small and each pouch is classified into a three-folded type, a handwoven brocade type, or a double-folded type (also called Rikyu type), but all these types are used for the same purpose.
Japanese: 袱紗挟みは比較的小ぶりの物を指し、三つ折り・つづれ・二つ折り（利休型）などに分類されるが、いずれも用途は同じである。
English: Although men's fukusa basami are somewhat bigger and use cold colors while women's fukusa basami are relatively smaller and use warm colors, their shapes and their purposes of use are almost the same.
Japanese: 男性用がやや大ぶりで寒色系、女性用がやや小ぶりで暖色系などの違いはあるが、形や使い方の違いはほとんどない。
English: Guests at a tea ceremony rarely need to use their fukusa, but some schools require guests to use their fukusa when they view tea bowls.
Japanese: 客側であれば袱紗が必要になることはあまりないが、流派によっては茶器の拝見の際などに使われる場合もある。
English: Rules of cloth patterns vary depending on schools, and some schools strictly restrict the use of patterns while some schools have no restriction on the use of patterns.
Japanese: 柄物などは流派によって扱いが違い、厳しく制限されている場合と、まったく問題とならない場合とがある。
English: These sensu are not used as an actual fan, but they are used to represent a boundary between a host and a group of guests, or between guests when they exchange greetings with each other.
Japanese: 扇ぐためのものではなく、亭主と客の間、あるいは客同士の間の結界茶道における結界として挨拶のときに用いる。
English: Sensu with painted sticks should be used mainly by intermediate or advanced level people, and beginners generally use sensu with white sticks.
Japanese: 塗り生地の扇子は一般に中・上級者向けであるとされており、初心者は白生地を用いることが多い。
English: Men's sensu are relatively bigger and women's sensu are relatively smaller, but size also varies depending on schools.
Japanese: また、寸法は男性用が大ぶりで女性用が小ぶりではあるが、流派によってまちまちである。
English: For this reason, it is necessary for those who want to buy a new sensu for tea ceremony lessons to clarify which tea ceremony school they are going to join in.
Japanese: そのため、稽古用として購入する場合はどの流派用かをきちんと伝える必要がある。
English: It is said, however, that using a sensu of one's own school at a tea ceremony of another school is not rude.
Japanese: ただし、他流の茶会などへ招かれたときに自流の扇子を使うことは失礼に当たらないとされている。
English: Those who do not have any yoji can ask for one at a reception desk, and reception clerks are probably able to provide some kuromoji (high-grade toothpicks) for them.
Japanese: 持ち合わせがない場合は、受付などに申し出れば爪楊枝黒文字を用意してもらえることがある。
English: This is a small cloth used to clean off the lip of a tea bowl after drinking tea at a koichaseki (ceremony of thick tea, which is made with three tea scoops of powdered tea per person) of the Urasenke school.
Japanese: 裏千家の濃茶席において、飲んだ後の茶碗の飲み口を清めるために用いる小布。
English: This is a bag which is slightly bigger than a fukusa basami.
Japanese: 袱紗挟みよりさらに一回り大きな袋物として数寄屋袋（すきやぶくろ）がある。
English: This is used to carry a spare pair of tabi (Japanese split-toe socks), and additionally, this bag is big enough to keep a fukusa basami in it.
Japanese: 替えの足袋をしまっておいたり、袱紗挟みをそのまま入れたりすることもできる大きさである。
English: A kobukusa is a small cloth used at some tea ceremony schools when they view tea bowls or when they carry out already whisked tea and present it to various other guests.
Japanese: 古袱紗（こぶくさ）とは、茶道の一部流派において、茶席での茶器の拝見や点て出しの際に用いられる小型の布である。
English: This is placed under a tea bowl when the host of a tea ceremony carries a cup of whisked powdered green tea, and additionally, it is placed on a tatami mat to view a tea bowl at some tea ceremony schools or at some tea ceremony parties.
Japanese: 茶席において、点てられた抹茶を運ぶ際に茶碗の下に敷いたり、また流派・点前によっては茶器の拝見の際に畳の上に広げて同様に拝見する。
English: Guests fold their kobukusa ensuring the wasa (a seamless and folded side of a fukusa or a kobukusa) part should be folded over to the left, and turn the folded part (wasa) downward before putting it into the inside of the front flap of kimono with kaishi (Japanese tissue) and a fukusa (a small silk cloth used in the tea ceremony).
Japanese: 客側は、古袱紗のわさを左側に折り返し、新たにできた折り目の部分（わさ）を下側にして、懐紙・袱紗とともに懐中する。
English: Most kobukusa are made of meibutsugire (also called meibutsuretsu, which literally means "named fabrics," representing cloths with certain woven patterns), or donsu (damask silk), but various materials, colors, and patterns are used.
Japanese: 名物裂（めいぶつぎれ、めいぶつれつ織柄の決まった模様）や緞子（どんす）などが主に用いられるが、材質や色柄等は様々。
English: Although men's kobukusa generally use green and purple as well as other cold colors and women's kobukusa use warm colors, rules of kobukusa colors are less strict than fukusa; moreover, some kobukusa can be used by both men and women depending on colors and patterns.
Japanese: 主に男性は寒色系や緑・紫など、女性は暖色系の色のものを使用するが、袱紗ほど厳密な決まりはなく、柄や色によっては男女で使い回すこともある。
English: Seasonal patterns such as plums, cherry blossoms, and snows are used only during their relevant seasons because a sense of the season is considered very important in the Japanese tea ceremony.
Japanese: ウメ・桜・雪など季節を連想させる柄は、季節感を尊ぶ茶道においてはその時期以外はあまり好んで用いられることはない。
English: However, some people allow cherry blossom patterns to be used all year round as cherry blossoms are thought to be the symbol of Japan.
Japanese: ただし、桜については日本を代表する花として通年使用できる場合もある。
English: The size of a kobukusa is one fourth of a fukusa, and its shape is almost a square although its width is a little wider.
Japanese: 大きさは袱紗の4分の1程度で、横幅が若干長いほぼ正方形の形をしている。
English: A kojakin is a small cloth used to clean off a tea bowl after drinking tea at the Urasenke (the House of Urasen) school, which is one of the Japanese tea ceremony schools.
Japanese: 小茶巾（こぢゃきん）とは、茶道裏千家において抹茶を飲んだ後の茶碗を清めるために用いられる小布である。
English: Although hemp (textile) is mainly used for kojakin, nonwoven fabric-made kojakin called 'kami-kojakin' (literally, "paper kojakin") are also often used.
Japanese: 素材は麻(繊維)が主であるが、不織布製の「紙小茶巾」と呼ばれるものもよく使われている。
English: A kojakin should be moistened and folded beforehand, and a guest wipes the lip of a tea bowl with the kojakin after drinking koicha (thick tea) and then he or she passes the tea bowl to the next guest.
Japanese: 事前に湿らせて折りたたんでおき、濃茶を飲んだ後に茶碗の飲み口を拭って次客へと茶碗を廻す。
English: Most kojakin are disposable due to their uses, but kojakin made of cloth are sometimes washed after use so that they can be used multiple times.
Japanese: その用途から、使い捨てであることが多いが、布製の場合は洗って何度か使うこともある。
English: Also, kojakin which are already moistened like wet tissues are sold under the names of 'shimeshi kojakin' (literally, 'moistened kojakin') and 'nure kojakin' (literally, 'wet kojakin').
Japanese: また、ウェットティッシュのようにあらかじめ湿らせてある状態のものが「湿し小茶巾」「濡れ小茶巾」などの名称で市販されている。
English: Since a kojakin cannot be directly put into a kaishi basami (Japanese tissue case) because it is wet after use as well as before use, a special case for kojakin is necessary.
Japanese: 使用前は当然、使用後も湿った状態であるのでそのまま懐紙挟みなどにはさむことはできないため、小茶巾入れなどが必要となる。
English: If a guest does not have a kojakin, he or she temporarily can use a wet and folded kaishi (Japanese tissue) instead of kojakin, but great care must be taken because the use of wet kaishi may hurt a tea bowl.
Japanese: 手元に小茶巾を用意していないときの応急処置として、懐紙を湿らせた上で折りたたみ、使用することもあるが、茶碗を傷つける恐れがあるため注意が必要。
English: Desaku, also referred to as Detsukuri (literally, going out to plow) means that inhabitants in a region cultivate fields in other regions.
Japanese: 出作（でさく/でつくり）とは、ある地域の住民が別の地域にある田畑を耕作することを指す。
English: From ancient times to the Middle Ages, it meant inhabitants who belonged to a certain shoryo (territory) (Koryo or Shoen) but cultivated fields in other shoryo.
Japanese: 古代から中世にかけては、特定の所領（公領・荘園）に属する住民が、別の所領内にある田畑を耕作することを指した。
English: This phenomenon often occurred during ancient times and the Middle Ages, when the rights of a legal land owner and an actual lord of the land were intricate and unstable.
Japanese: 法的な土地所有者と現地における実際の権利関係が錯綜して安定していなかった古代・中世期にはこうした現象は多く存在した。
English: As for koso (annual tax), Kuji and Zaikeyaku (public duties) were supposed to be paid to the lord of the land where an inhabitant lived but Nengu (land tax) and Kanmotsu (tribute goods paid as taxes or tithes) were to be paid to the lord of the land in which the individual cultivated the fields.
Japanese: 貢租に関しては公事・在家役は居住地の領主に帰属し、年貢・官物は耕作地の領主に帰属する原則であった。