nntsuzu/KFTT huggingface dataset:
English: Tsuchigumo zoshi (a storybook of Tsuchigumo) written in the fourteenth century, portrayed Tsuchigumo as a monster spider in Kyoto as follows:
Japanese: 14世紀頃に書かれた『土蜘蛛草紙』では、京の都で大蜘蛛の怪物として登場する。
English: MINAMOTO no Yorimitsu, known as a warlord in the middle of the Heian period who subdued "Shuten Doji" (the leader of a group of bandits that roamed the region around Kyoto), went with his retainer WATANABE no Tsuna to Rendaino in Kitayama of Rakugai (outside area of the capital Kyoto), where they met with a skull flying in the sky;
Japanese: 酒呑童子討伐で知られる平安時代中期の武将・源頼光が家来の渡辺綱を連れて京都の洛外北山の蓮台野に赴くと、空を飛ぶ髑髏に遭遇した。
English: being suspicious of the skull, they went after it and reached an old house, where various goblins and bugbears hideous in appearance emerged and frightened them;
Japanese: 不審に思った頼光たちがそれを追うと、古びた屋敷に辿り着き、様々な異形の妖怪たちが現れて頼光らを苦しめた。
English: at dawn, a beautiful woman appeared and tried to razzle dazzle them, but Yorimitsu counterattacked her with his sword; when the woman disappeared some bloodstains were left on the ground;
Japanese: 夜明け頃には美女が現れて目くらましを仕掛けてきたが、頼光はそれに負けずに刀で斬りかかると、女の姿は消え、あとに血痕が残っていた。
English: tracing the bloodstains, they reached a cave far up on a mountain, where they found a monster spider, the original form of all evil phenomena;
Japanese: それを辿って行くと、やがて山奥の洞窟に至り、そこには巨大なクモがおり、このクモがすべての怪異の正体だった。
English: after fighting a fierce battle, Yorimitsu cut off the monster's head, and he found as many as 1990 heads of the dead in the monster's stomach;
Japanese: 激しい戦いの末に頼光がクモの首を刎ねると、その腹からは1990個もの死人の首が出てきた。
English: seeing millions of offsprings of spiders rushing out from the monster's flank, Yorimitsu examined there and found about twenty more small skulls.
Japanese: さらに脇腹からは無数の子グモが飛び出したので、そこを探ると、さらに約20個の小さな髑髏があったという。
English: Various stories about Tsuchigumo exist, and "Heike Monogatari" (The Tale of the Heike) describes a story about it by the name of 'Yamagumo' as follows:
Japanese: 土蜘蛛の話は諸説あり、『平家物語』には以下のようにある（ここでは「山蜘蛛」と表記されている）。
English: When Yorimitsu was bed-ridden with "okori" (an intermittent [malarial] fever), an evil monk of about 2.1 meters tall emerged and tried to catch and bind Yorimitsu with ropes;
Japanese: 頼光が瘧（マラリア）を患って床についていたところ、身長7尺（約2.1メートル）の怪僧が現れ、縄を放って頼光を絡めとろうとした。
English: on the next day, leading "Shitenno" (four guardians), Yorimitsu traced the bloodstains left on the ground and arrived at the mound at the back of Kitano Tenman-gu Shrine, where they found a monster spider of about 1.2 meter in full length;
Japanese: 翌日、頼光が四天王を率いて僧の血痕を追うと、北野天満宮裏手の塚に辿り着き、そこには全長4尺（約1.2メートル）の巨大グモがいた。
English: then, Yorimitsu soon recovered from his illness, and thereafter the sword "Hizamaru," with which Yorimitsu slashed Tsuchigumo, began to be called 'Kumogiri' (Tsuchigumo cutter);
Japanese: 頼光の病気はその後すぐに回復し、土蜘蛛を討った膝丸は以来「蜘蛛切り」と呼ばれた。
English: the original form of this Tsuchigumo is said to have been vengeful spirits of the above-mentioned local clans put down by Emperor Jinmu;
Japanese: この土蜘蛛の正体は、前述の神武天皇が討った土豪の土蜘蛛の怨霊だったという。
English: A theory has it that Yorimitsu's father MINAMOTO no Mitsunaka conspired with "oni" and "tsuchigumo," the above-mentioned local clans, to revolt against the Fujiwara clan, but on the occasion of Anna Incident, Mitsunaka betrayed the local clans to defend his own interests, so his son Yorimitsu and Shitenno began to be cursed by the ghosts of "oni" and "tsuchigumo."
Japanese: 一説では、頼光の父・源満仲は前述の土豪の鬼・土蜘蛛たちの一族と結託して藤原氏に反逆を企んだが、安和の変の際に一族を裏切って保身を図ったため、彼の息子である頼光と四天王が鬼、土蜘蛛といった妖怪たちから呪われるようになったともいう。
English: Within the precincts of Jobonrendai-ji Temple in Kita Ward, Kyoto City, there exists the burial mound where MINAMOTO no Yorimitsu is enshrined, where the ghosts of tsuchigumo are said to have haunted; it is said that someone who intended to cut down a tree by the mound died from an unknown disease.
Japanese: 京都市北区の上品蓮台寺には頼光を祀った源頼光朝臣塚があるが、これが土蜘蛛が巣くっていた塚だといい、かつて塚のそばの木を伐採しようとしたところ、その者が謎の病気を患って命を落としたという話がある。
English: In Ichijo-dori, Kamigyo Ward, there exists another mound that is said to have been haunted by the ghosts of tsuchigumo, and a stone lantern was excavated from here and began to be called "Kumo Doro" (the stone lantern of tsuchigumo).
Japanese: また、上京区一条通にも土蜘蛛が巣くっていたといわれる塚があり、ここからは灯籠が発掘されて蜘蛛灯籠といわれた。
English: The people who were handed over the lantern had their family fortunes declined immediately after receiving the lantern, so people feared it must be the curse of tsuchigumo.
Japanese: これを貰い受けた人の家運がたちまちに傾くことが続き、土蜘蛛の祟りかと恐れられた。
English: Tsukumogami, the notion of Japanese folk beliefs, is a collective name of old or long-used yorishiro (objects representative of divine spirits) (tools, living things and natural things) in which deities (Shinto religion) or divine spirits reside.
Japanese: 付喪神（つくもがみ）とは、日本の民間信仰における観念で、長い年月を経て古くなったり、長く生きた依り代（道具や生き物や自然の物）に、神(神道)や霊魂などが宿ったものの総称である。
English: It is believed that Tsukumogami brings misfortune if it becomes violent (Araburu-kami [violent deity], Kyubi no kitsune [a fox having nine tails] etc.), and it brings good fortune if it becomes calm (Nagiru-kami [calm deity], Okitsune sama [the fox worshiped as a harvest deity] etc.).
Japanese: 荒ぶれば（荒ぶる神・九尾の狐など）禍を齎し、和ぎれば（和ぎる神・お狐様など）幸を齎すとされる。
English: "九十九" symbolizes "long time (99 years) or long experience" and/or "varieties of things (99 kinds)."
Japanese: この九十九は「長い時間（九十九年）や経験」「多種多様な万物（九十九種類）」などを象徴する。
English: This word is also written as "九十九髪," and it also means "things that have become deities over a long time or experience" since "髪" (hair) implies "白髪" (gray hair).
Japanese: また九十九髪と表記される場合もあるが、「髪」は「白髪」に通じ、同様に長い時間経過や経験を意味し、「多種多様な万物が長い時間や経験を経て神に至る物（者）」のような意味を表すとされる。
English: A world view that yaoyorozu no kami (eight million deities) reside in shinrabansho (all things in nature, the whole of creation), a kind of animism, took root in Japan's ancient Shinto.
Japanese: 日本の古神道においては、古来より森羅万象に八百万（やおよろず）の神が宿るとするアニミズム的な世界観（八百万の神・汎神論）が定着していた。
English: As seen from the term "Kamusabi" (to believe like a deity), people believed things that lived long or things they used for a long time were sacred by themselves.
Japanese: その特徴の一つとして「神さび」という言葉が、古くから使われ、長く生きたものや、古くなったものはそれだけで、神聖であり神々しいとされてきた。
English: The concrete examples of the above are himorogi (trees) belief and iwakura (rock and mountain) belief, in which people believed deities resided in large big trees or old rocks and worshiped them as shintai (deities) by putting shimenawa (a sacred rope) around them as proof of yorishiro.
Japanese: その具体的なものとして、神籬（ひもろぎ・木々のこと）や磐座（いわくら・岩や山のこと）信仰があり、長く生きた大木や昔からある岩に神が宿ると考え、それらを神体とし、依り代の証しとして注連縄を巻き信仰している。
English: Yorishiro that could become Tsukumogami were shinrabansho, including artificial tools and buildings, animals and plants as well as natural mountains and rivers.
Japanese: 付喪神となりうる寄り代も森羅万象であり、人工の器物（道具）や建造物の他、動植物や自然の山河などに及ぶ。
English: Because Tsukumogami brings not only good fortune but also misfortune, it is often expressed as a tale of apparition.
Japanese: 付喪神は、必ずしも人に幸をもたらすとは限らず、禍をもたらすものであり、妖怪として語られることも多い。
English: The practice/sense of values of believing in the existence of spirits in long-lived articles/living things and "having a feeling of reverence/awe" for them was common in Japan, and the philosophy of Tsukumogami is the same with that of contemporary and ancient Shinto.
Japanese: 作られて誕生して長い時間を経て、健在でありつづけた器物や生き物などには、霊魂が宿るとして「畏怖や畏敬の念を抱く」といった習慣・価値観は、日本に普遍的に存在するものであり、根底に流れる思想は神道や古神道と同じものである。
English: Also, many monuments, mounds and memorial towers, such as hocho-zuka (mound of kitchen knives), ningyo-zuka (mound of dolls) and dogu-zuka (mound of tools), were constructed at various places in Japan in order to assuage the anger of Tsukumogami.
Japanese: またそれらを、鎮めるため（和御魂・荒御魂という神霊の2つの様相の変化）に建立した碑や塚や供養塔も日本各地に多数存在し、例としては包丁塚や人形塚や道具塚などがある。
English: Behind the above-mentioned sense of values, there seem to be teachings of "taking good care of tools and domestic animals," precautions for avoiding damage or accidents arising from the use of old tools in poor condition, and gratitude for tools, domestic animals and pets that had belonged to people.
Japanese: これらの価値観をもたらす背景としては、道具や家畜などを「大切に扱い手入れを絶やさぬように」という教訓的なものや、手入れの疎かな古道具を安易に用いることによる破損や事故の回避、長く身の回りの役に立ってくれた道具や家畜・愛玩動物に対する感謝の心として解釈される。
English: The practice of holding memorial services for tools and living things that had served their purposes derived from the belief that such things would become violent Tsukumogami if people treated them without due respect or did not hold memorial services for them.
Japanese: また粗末に扱ったり供養を絶やすと、付喪神となり荒ぶるとする考えから、役目を終えた道具や生き物に対する供養を行う習慣につながっている。
English: The sense of values that believes divine spirits exist in tools, domestic animals, animals, plants and nature, in which personality is not generally recognized, is considered to have derived from the fact that they were personified in caricatures and comics.
Japanese: 道具や、一般に人格を認められることのない家畜・動植物・自然などに、神霊が宿り意志を持つといった価値観は、戯画や漫画などの擬人化の一環とし考えられる。
English: As karakasa (a monster of umbrella), a kind of apparition, was drawn as the one that has eyes, a nose, a mouth, hands and feet, apparitions of animals such as nekomata (mythical two-tailed cat) can be categorized into Tsukumogami as ones that acquired spirit (personality) due to their longevity.
Japanese: 現に妖怪の唐傘などは目・鼻・口・手足をもって描かれ、猫又などの動物の妖怪も付喪神に含めることが可能であり、長命によって魂（人格）を獲得するとする図式に漏れない。
English: As seen in "Nushi no densho" (transmission of nushi [master]), mountains and rivers can also acquire personality or life based on the Japanese traditional philosophy of animism, and they are utilized for shakkei (making use of the surrounding landscape in the design of a garden) or the design of Japanese cakes based on the "mitate no seishin" (spirit of simulation).
Japanese: これは山や川などの「ヌシ（主）の伝承」にしても同様の構図を持つものであり、付喪神もまた日本古来よりのアニミズム的な価値観から、人格や生命すら持ち得ない対象でさえ時にこれらを獲得し得る、あるいは借景（しゃっけい）や和菓子の造形と同様の「見立ての精神」における、解釈して楽しむといった擬人観が、普遍的な価値観としてこれらの根底に存在するということである。
English: Tools, domestic animals, cats and dogs were seldom drawn as apparitions before the Kamakura period.
Japanese: 鎌倉時代以前は、道具や身近な家畜や飼い猫・飼い犬などは、妖怪としてほとんど描かれていない。
English: Only dragons, snakes and foxes, which were the embodiment of nature according to ancient Shinto, were drawn violently in order to show their menace.
Japanese: 古神道そのままに自然の具現化としての、龍や蛇や狐などが、その脅威を表すかのように荒々しく描かれているものだけである。
English: Paintings of the model of Tsukumogami (九十九神) are seen in "Tsuchigumo no Soshi," such as women whose figures are the chicken and fox, apparitions of baku (mythological Chinese chimera), things that combine the gotoku (kettle stand) and cattle, the kine (pounder) to which a snake and human teeth are attached, and the hitogata (doll) whose face is tsuno-darai (horned basin) with teeth.
Japanese: 『土蜘蛛草子』には、九十九神の原型ともいえる描写があり、鶏や狐の姿をした女性や妖怪としての獏が描かれ、五徳と牛が合体したものや、杵に蛇の体と人の腕が2本くっついたものや、角盥（つのだらい）の縁に歯が生えそのまま顔になっている人形（ひとがた）が描かれている。
English: ABE no Seimei and five shikigami (deity which performs according to Onmyoshi) are seen in "Fudo Rieki Engi Emaki," and these shikigami are the personified chicken, tsuno-daira and gotoku.
Japanese: 『不動利益縁起絵巻』にも安倍晴明とその使役される式神が5体描かれていて、鶏や角盥や五徳を擬人化したものである。
English: In this period, histories of apparitions were created and were called Tsukumogami (九十九神).
Japanese: この時代に単なる妖怪ではなく、その由来や設定がなされ九十九神と命名された。
English: At the beginning of "Tsukumogami-ki," there is a description that states, "According to 'Inyo Zakki,' tools acquired souls and deceived people's hearts 100 years after they were produced. They were called Tsukumogami."
Japanese: 『付喪神記』の冒頭に「陰陽雑記に云ふ。器物百年を経て、化して精霊を得てより、人の心を誑かす、これを付喪神と号すと云へり」とある。
English: Paintings or picture scrolls in which living things were painted, such as "Nezumi Zoshi" and "Juni-rui Gassen," were created, and the Tsukumogami of kakashi (scarecrow) and hishaku (ladle) were painted in "Bakemono Zoshi."
Japanese: 絵画や絵巻では『鼠草紙』・『十二類合戦』とよばれる生き物を模した物や、『化物草子』では、案山子や柄杓の九十九神が描かれている。
English: As household utensils, such as mortars, pots, pans, tubs and jars, became popular in the Muromachi period thanks to the development of light industry, they were also painted as Tsukumogami.
Japanese: 室町時代に軽工業の発達から生活道具が大量に出回り、臼や釜や鍋などから、桶や壷が、安易に消費されるようになり、これらも九十九神として描かれている。
English: Tsukumogami were painted as main characters in Mitsunobu TOSA's "Hyakki Yagyo-zu" (a painting of Night Procession of Hundred Demons), unlike other Hyakki Yagyo-zu that were painted before then, in which demons were painted as the main characters.
Japanese: 土佐光信の『百鬼夜行図』は、これまで描かれた文字通り鬼が主流であった百鬼夜行とは違い、九十九神を中心にかかれている。
English: Tsukumogami were painted solely as apparitions, and their models were the embodiment of nature and daily necessities (including domestic animals) that had existed before the Edo period.
Japanese: もっぱら妖怪として描かれ、その造形は江戸時代以前からあった自然の具現化と九十九神などの生活必需品（家畜などを含め）を踏襲したものである。
English: However, paintings on which a note explaining that the object is the old one are seldom found today.
Japanese: ただ、九十九神における歳を経たものという特筆が見られる場合が少なくなっている。
English: The above coincides with the fact that many apparitions were created by painters in this period, a peaceful time in which the culture of ordinary people was prosperous and folklore did not exist, and that "the Edo period was a recycling society without parallel in the world" as researchers of the Edo period, such as Hinako SUGIURA, have pointed out.
Japanese: これは、太平の庶民文化の隆盛から、口碑伝承のないこの時代の作家に創作された妖怪の類の氾濫と、杉浦日向子などの江戸時代研究家や学者が説明する「江戸時代は世界に類を見ない資源還元（リサイクル）社会であった」という事実と合致する。
English: Behind the above, there was a fact that a sense of sin for consumption declined because the repair/collection of used articles became vigorous thanks to the bakufu (Japanese feudal government headed by a shogun)'s policy of encouraging bote-furi (bote-uri) (vending while calling to customers), which was introduced for the promotion of economy and the relief of the socially vulnerable, as well as the use and sale of various foodstuffs such as whale meat and night soil.
Japanese: 棒手振り（棒手売）が幕府による経済振興や弱者救済として奨励され、古物の修理・回収が盛んになり、物の消費に一定の罪悪感が無くなったことや、鯨などの食料や資源の徹底した活用や、それによって生ずる人糞までも肥料化による利用と売買など、消費が振興となったことが大きいといえる。
English: Although the level of recycling of resources does not reach the level of the Edo period, when the bakufu encouraged recycling through human-wave tactics and the social system, Tsukumogami or apparitions are the notion or the sense of values of nature conservation which Japan should send to the world, as with "mottainai" (wasteful) and "satoyama/chinju no mori" (outskirts of country/sacred shrine forest).
Japanese: 江戸時代の人海戦術と社会制度による資源還元にまでは、至っていないが、「もったいない」や「里山・鎮守の森」のように、九十九神や妖怪は自然保護を含めたものとして、日本はもとより世界に発信されるべき観念や価値観ともいえる。
English: At some amusement parks of joint public-private ventures that had fallen into ruin, according to eyewitnesses, roller coasters with no staff would start to run, the white horses of merry-go-rounds would become living white horses and be tormented, and lost children would crawl out from manholes in the middle of the night.
Japanese: 現代社会の例としては、全国各地の第三セクターにある放棄され廃墟と化している無人遊園地では、深夜になると無人のジェットコースターがひとりでに走り、白馬のメリーゴーランドが生身の白馬に変化し苦しみもがき、迷子の子供がマンホールから次々と這い出てくる不思議な目撃話が語られている。
English: According to psychics, what remained at the amusement parks is the "thought" of visitors at the time, and such "thought," when attached to the instruments, caused mysterious phenomena.
Japanese: 霊能力者によれば遊園地に残っているのは当時の入場客の「想い」であるといい、その「想い」が器物につき怪奇現象を起こすのだという。
English: Kakoishio is specially purified traditional salt for preservation, and also called furuzumijio (traditional Japanese purified salt for preservation).
Japanese: 囲塩（かこいしお）は、古積塩とも呼ばれる日本に古来から伝わる特別に精製された保存用の食塩のこと。
English: Salt is kept in an underground facility with roof covering, to avoid water percolation, for over a summer to a year.
Japanese: 食塩を地下施設に貯蔵して水分が浸透しないように施設内を屋根ぶきして、ひと夏から1年間くらい保管する。
English: Tsunokakushi is a wide strip of cloth worn by a bride at a Japanese-style wedding ceremony, covering her head including the coiffure called Bunkintakashimada.
Japanese: 角隠し（つのかくし）は、和式の婚礼の儀において、花嫁が文金高島田（ぶんきんたかしまだ）と呼ばれる、日本的な高い髷（まげ）を結った髪の上に、頭を覆う形で被る帯状・幅広の布を言う。
English: (One piece of rectangular-shaped cloth covers the bride's forehead and is tied at the coiffure behind her head).
Japanese: （長方形型の一枚の布を、前ひさしを覆うようにして付け、後ろにまわして髷のところでとめる。）
English: Although Tsunokakushi can be used for both Shiromuku (pure white kimono) and Irouchikake (gorgeously patterned kimono), Wataboshi, an oval-shaped hat several times larger than the head, is generally used for Shiromuku, and Tsunokakushi is used for Irouchikake these days.
Japanese: 白無垢（しろむく）・色打掛（いろうちかけ）のどちらに対しても用いることができるが、最近では白無垢には綿帽子（わたぼうし）と呼ばれる頭部の数倍の大きさの楕円状の帽子を、色打掛には角隠しを用いることが多い。
English: While there are various theories (see below) and the actual origin has not been truly identified, at present, the following two theories are commonly cited with regard to the origin:
Japanese: 様々な由来（後述）が諸説紛々であるためにはっきりしないが、現在では俗説として次の2つが言われることが多い
English: An indication shown by the bride at the wedding ceremony that she will be an obedient and modest wife by hiding her horns, the symbol of anger.
Japanese: 女性が嫁入りするにあたって、怒りを象徴する角を隠すことで、従順でしとやかな妻となることを示す
English: A kind of spell to prevent the bride from becoming a demon, since it was believed that women could be demonized by a jealous rage.
Japanese: かつて女は嫉妬に狂うと鬼になると言われていたため、鬼になることを防ぐための一種のまじない
English: Tsunokakushi was a widespread custom from the late Edo period to the beginning of Meiji period, and there are various theories upon its origin.
Japanese: 角隠しは江戸時代後期～明治初期にかけて広まった風習であり、その由来については様々な説がある。
English: As recorded in the 'Seventy-one Workmen's Competitions of Waka,' women peddling rice or rice cakes in the Muromachi period wore white cloth around their heads called Katsuratsutsumi or Katsuramaki.
Japanese: 七十一番職人歌合に記されているように、室町時代の米売りや餅売りの女性たちは、桂包（かつらつつみ）または桂巻（かつらまき）と呼ばれる白い布を被っていた。
English: It is regarded that the cloth was mainly designed to help them carry merchandise upon their heads to prevent the goods from being contaminated by hair, or to protect their hair.
Japanese: これは頭部に商品を載せて運ぶため、髪が商品を汚さないため、あるいは髪を汚さないようにするためなどの目的があったと考えられる。
English: As depicted in the Takafusa Kyo Tsuyakotoba Emaki (an illustrated scroll featuring the love affair of Takafusa REIZEI), prior to the Kamakura period, women of noble ranking would wear uchigi (ordinary kimono) or thin garment called Kazuki, which fully covered their body from the head down, without putting their arms into the sleeves when going out.
Japanese: 隆房卿艶詞絵巻に描かれているように、鎌倉時代以前より高貴な身分の女性が外出する際には、頭の上から身体をすっぽりと覆う被衣（かづき）と呼ばれる袿（うちぎ）あるいは薄い衣を、袖を通さずに被っていた。
English: During the Muromachi period, women wore Kosode, short-sleeved kimono, with its collars lowered and the Kazuki is cited as the origin of Tsunokakushi as well.
Japanese: 室町時代になると、小袖の襟を前に下げた形で用いられるようになり、この被衣が起源になったとする説。
English: As per the rituals of a sect of Buddhism Jodo Shinshu, women should hide their hairline or corner (it is pronounced sumi in Japanese), when visiting a temple.
Japanese: 浄土真宗において、寺を参る際に女性は髪の生え際（すみ）を隠すとされていた。
English: However, it is said that this custom was gradually adopted in wedding ceremonies and came to be called Tsunokakushi.
Japanese: しかしながら、婚礼にも用いられるようになり、角隠しと呼ばれるようになったとする説。
English: During the late Edo period, an increasing number of women, stimulated by the appearances of kabuki actors into imitating the way the kabuki actors dressed, which is also cited as the origin of Tsunokakushi.
Japanese: 江戸時代後期に歌舞伎役者の格好を見た女性達が真似をし、広まったとする説。
English: The "haneri" is a detachable neckpieces for kimonos that is sewed on a juban, underwear for wafuku (Japanese traditional clothes).
Japanese: 半衿（はんえり）とは、和服用の下着である襦袢に縫い付ける替え衿のこと。
English: Although its main purpose is to shield juban from dusts, sebum and/or hairdressings (when it gets dirty, you can take it off, wash it out and use it over and over), it is regarded as an important point in dressing since it is put on at the site near the face.
Japanese: 本来の目的は襦袢を埃、皮脂や整髪料から保護するもの（汚れたらはずして洗濯し、何度も使用する）であるが、顔に近い部位に身につけるものであることから着こなしのポイントとして重要視される。
English: Some products with embroidery decorations cost hundreds of thousands yen (several thousand dollars).
Japanese: 刺繍などによる豪華な装飾を施した数十万円近い価格帯の半襟も存在する。
English: Taking it as a part of underwear, haneri is an exceptional one among various ethnic costumes in the world, because a part of haneri falls into someone's eye when it is formally dressed.
Japanese: 半襟をも下着の一部と考えれば、その一部を見せるのが正式の着用法である点で、世界の民族衣装のなかでも例外的である。
English: Generally speaking, crepe is used for casual wafuku, while shioze habutae (a, thick silk fabric) is used for a wide variety of wafuku, ranging from casual kimonos to formal kimonos.
Japanese: 一般的には、縮緬はカジュアル、塩瀬羽二重はカジュアルから礼装まで広く使われる。
English: Before the World War II, iroeri (colored haneri) or shishueri (haneri with embroidery) were popular as women's haneri; however, shiroeri (white haneri) became popular after the Regulation of the Production and Sale of Luxury Items issued in 1940.
Japanese: 女性向けのものとしては、戦前は、色衿や刺繍衿が中心であったが、昭和15年に出た、奢侈品等製造販売制限規則をきっかけに白衿が流行した。
English: Iroeri revived to a certain extent after the war, but shiroeri gradually became dominant because wafuku got less popular as everyday clothes in the high economic growth period.
Japanese: 戦後になり色衿が若干復活するも、高度経済成長期の和服の脱・普段着化に伴い、ほとんど白衿一辺倒となった。
English: Other than shiroeri, there are almost countless numbers of color for haneri, such as red, yellow, blue, green, pink and purple, according to the colors of wafuku.
Japanese: 現在は、白以外にも、和服の色に合わせて赤、黄、青、緑、桃色、水色、紫など殆んど無数の色が存在する。
English: However, since red collars are regarded for young girls in principle, it is better for married women to avoid those of red or similar colors.
Japanese: ただし、原則として赤い襟は少女向けとされるので、既婚女性は赤色やそれに近い色は避けたほうが無難とされている。
English: Other than plain haneri, those decorated with embroidery or even with embroidery and beads are available.
Japanese: 無地のもののほか、刺繍を施したものや刺繍に加えてビーズなどの装飾を加えたものもある。
English: Black haneri, which is favored by nifty men, are the main stream products for men, followed by those of refined and soft color such as light blue, grey, brown, deep green or indigo.
Japanese: 男性向けのものは、粋好みの黒が最も多く、続いて上品な薄水色、灰色、茶色、深緑、藍など落ち着いた色合いのものが中心。
English: While solid white products are popular for formal dress such as kuromontsuki (black haori with family crest) at present, products of light blue or light grey were mainly used for men's formal dress until the early Showa period.
Japanese: 現在、黒紋付をはじめとする礼装には白無地が一般的だが、昭和初期までは男性の場合礼装にも薄水色か薄灰色を使うのが主流である。
English: It means the practice of changing red haneri of young girls for white haneri of adult women, and in karyukai, it refers the promotion from hinakko, such as hangyoku (child geisha) and maiko (apprentice geisha), to geigi (geisha).
Japanese: 少女が掛ける赤い半襟から一人前の女性の白い半襟へ襟を掛け替える習慣を言い、半玉、舞妓などの雛妓が芸妓となることを指す。
English: From that time, hangyoku is allowed to receive gyokudai (fee for geisha) at the full rate, and she changes her hairstyle etc.
Japanese: 半玉はこのときから一人前の玉代を受け取ることが出来、髪形なども変える。
English: Heihoka' is a tactician such as Sun Wu and Wu Qi who preached on tactics and strategy of military science.
Japanese: 「へいほうか」とは、中国の孫武や呉起など軍学としての戦略、戦術を説く兵法者。
English: Hyohoka is one who made a living by teaching military art (especially Japanese martial art such as kenjutsu (swordplay) and the art of the spearmanship) in Japanese Sengoku period.
Japanese: 兵法家（ひょうほうか）は、日本の戦国時代(日本)に、武芸（剣術・槍術などの日本武術）を教授することにより生計を立てていた者のこと。
English: Therefore it was not considered practical in actual warfare, and even among famous busho (Japanese military commander) such as Kiyomasa KATO and Masanori FUKUSHIMA, few of them learned art of warfare.
Japanese: そのため、実戦においてはあまり役に立つものとは考えられておらず、高名な武将（加藤清正・福島正則など）であっても兵法を習ったというものは少ない。
English: Famous people who called himself hyohoka included Bokuden TSUKAHARA, Nobutsuna KAMIIZUMI and Musashi MIYAMOTO.
Japanese: 兵法家として自称したのは、塚原卜伝・上泉信綱・宮本武蔵などが有名である。
English: Even Musashi MIYAMOTO, who earned highest salary apart from daimyo (Japanese feudal lord) in Yagyu Domain, was only 700 koku (194.6 cubic meters) at Hosokawa clan in his later years, which is an equal treatment of a chief retainer in a shohan (domain where crop yields are small).
Japanese: 大名出身の柳生藩以外でもっとも高禄であった宮本武蔵でさえ、晩年、細川氏において、客分700石という小藩の家老程度の待遇であった。
English: (However Musashi can be distinguished from normal 'Hyohoka' considering his artistic talent and the fact that he sublimated kenjutsu to metaphysical level.)
Japanese: （もっとも武蔵はその芸術家的天分と剣術を形而上的領域にまで昇華したという点で、並みの「兵法家」とは区別できる）。
English: This name derived from the fact that it is made after folding a textile of standard width (about 36 cm) in half (yonsun (12.12 cm) measured by kujirajaku [a measuring stick used in kimono-making]).
Japanese: 並幅（約36センチ）を半分に折って（鯨尺で4寸）仕立てることからいう。