nntsuzu/KFTT huggingface dataset:
English: On the back side of this Chinese painting are Yamato-e (classical Japan decorative paintings) of ajirogi (a pile for a woven or plaited wickerwork matting made of strips of bamboo sheathing, thin strips of cryptomeria, straight-grained cryptomeria, paulownia, ditch reed, or cypress bark) with maple leaves in Uji.
Japanese: この唐絵の裏面には、宇治の網代木に紅葉のかかった大和絵が描かれていた。
English: Let's guess the date of the appearance of this 'Araumi no shoji,' that is, Fusuma-tategu (fittings such as fusuma) from various documents.
Japanese: この「荒海障子」すなわち、襖建具の誕生の年代を、各資料から推測してみたい。
English: In "Shuishu" (collection of poetry) there is the description; 'In 986, ajiro was written in the shoji in Seiryoden...,' so that it could have existed before 986.
Japanese: 『拾遣集』に「寛和二年（986年）清涼殿のみしょうじに網代書けるところ・・・」とあり、九八六年以前から、存在していた事になる。
English: In "Ochikubo monogatari" (The Tale of Ochikubo) established in 979, there are descriptions such as 'When you open the shoji as a separators and go out, the closed mind is less than secure' and 'shoji as a separator is opened,' therefore, 'shoji as a separator' can be interrupted as Fusuma Shoji.
Japanese: 九七九年成立の『落窪物語』に「隔ての障子をあけて出づれば、閉すべき心もおぼつかず」「中隔ての障子をあけ給ふに」などとあるから、へだての障子は襖障子と解釈できる。
English: It means that there was a sliding Fusuma Shoji in general aristocratic residences around this time, and apparently Shoji in Seiryoden, that is, 'Araumi no shoji' existed before this.
Japanese: この頃には、一般の貴族の邸宅にも、引き違いの襖障子があった事になり、清涼殿の、みしょうじすなわち「荒海障子」はこれ以前に存在していたと考えられる。
English: In "Kasenkashuhon Turayuki-shu" (Poetry Collection of Kasen (superior poets), KI no Tsurayuki's poetry collection) there was a spring waka (Japanese poem) in 936 as 'shoji to separate, as FUJIWARA no Nakahira, Udaijin (minister of the right), and his son live in the same place.'
Japanese: 『歌仙家集本貫之集』の承平(日本)六年（936年）春の歌に「右大臣藤原仲平おやこ同じ所にすみ給ひける、へだての障子」とある。
English: According to this, apparently a sliding Fusuma shoji existed before 936.
Japanese: これに従えば、九三六年以前に、引き違いふすま障子が有ったことになる。
English: In "Fusoryakuki" (private collection of histories) there is a description that in 888 Emperor Uda ordered KOSE no Kanaoka to draw the images of a great Confucianist who had left excellent poems after Konin era (810-823) on the Shoji in Imperial Palace.
Japanese: 『扶桑略記』に仁和四年（888年）宇多天皇勅して、巨勢金岡（こせのかなおか）に弘仁年間（810～823年）以降の詩文にすぐれた儒者の影像を、御所の障子に描かせたとある。
English: It says that it was the east and west Shoji in minami-hisashi (southern surrounding area) room of the Imperial Palace, but it is not sure whether it was a Tsuitate shoji or a Fusuma Shoji.
Japanese: 御所南廂の東西の障子とあるが、衝立て障子であったか、ふすま障子であったかは定かではない。
English: Although the career of KOSE no Kanaoka was not clear, he was regarded as a master of painting and the founder of Yamato-e, and he drew Yamato-e on a folding screen at the request of FUJIWARA no Mototsune, a chief adviser to the Emperor at that time.
Japanese: 巨勢金岡の経歴は不詳ながら、絵の達人で大和絵の創始者とされており、時の関白藤原基経の依頼で屏風に大和絵を描いている。
English: On the other hand, there was 'Kenjo no shoji ' on the border of moya and kita-hisashi in Shishinden as mentioned above.
Japanese: 一方、紫宸殿の母屋と北廂の間の境に「賢聖の障子」があった事は前に述べた。
English: The clear evidence of the existence of 'Kenjo no shoji ' is a description in the section of the year of 929 of "Nihongi Ryaku" (history book of six countries) as 'Shonaiki made ONO no Michikaze overdraw the image of Kenjo sage on the Shoji of Shishinden. In past years ONO no Michikaze wrote it.,' therefore, it could have existed before this.
Japanese: 「賢聖の障子」の成立の確かな資料は、『日本紀略』延長(元号)七年（929年）の条に、「少内記小野道風をして紫宸殿障子を賢聖像に改書せしむ。先年道風書く所なり」とあり、この以前から存在していたことになる。
English: Since it seemed to be rewritten because the pigment was deteriorated and faded over at least ten years, it must have been overdrawn in the Engi era (901-914).
Japanese: 書き改めるには少なくとも十年以上の歳月を経て、顔料の劣化や色醒めがあったと考えられるから、延喜年間（901～914年）には作成されていた事は間違いない。
English: Each four Kenjo (sage) were drawn on each bay of 7.2 m of east and west, which were 32 Kenjo in total.
Japanese: 東西各四間の柱間ごとにそれぞれ四人ずつ合計三十二人の賢聖の像を描いたものであった。
English: Then, it is said that there was 'Shoji-to' (sliding paper door) in the three points of the central room and the east and west second rooms.
Japanese: そして、中央間と東西第二間の三ヶ所に「障子戸」が設けられていたという。
English: This 'Shoji-to' is considered to be the first openable Shoji, but one theory says it was not a sliding door but a swing door.
Japanese: この「障子戸」が開閉式の障子の最初とみられているが、一説によると扉形式で、引き違い戸ではなかったともいう。
English: However, considering that the 'Kenjo no shoji' as Shiturai was a removable set-in door, it was not convenient if 'Shoji-to' as a way in or out was a fixed door.
Japanese: しかしながら、室礼（しつらい）としての「賢聖の障子」は、取り外される事が前提の嵌め込み式である事を考えると、出入口として設けた「障子戸」が、固定式の扉であっては都合が悪い。
English: In the "Gokeshidai" (the Ritual Protocol of the Oe House), there is a description that 'according to recent customs, Kita no mishoji (also called Kenjo no shoji) is removed except on the days of public matters.'
Japanese: 『江家次第』によると、「北御障子（賢聖の障子）は、近頃の慣行では、公事の日を除いて取り外している」とある。
English: The technique of fitting a movable (removable) wooden wall was a device created because of the humid climate of Japan inevitably, and was a very innovative technique that was not seen in Tang style.
Japanese: 可動式の（取り外し可能な）板壁の建具技術は、湿度の高い日本の風土から必然的に生み出された工夫ではあり、唐様式にはない実に革新的な建具技術であった。
English: It was devised to be removable as necessary by carving each one toi (a generic term gutter) in the threshold and kamoi (a generic term for a head jamb, normally having tracks for sliding doors or partitions) and setting a sliding door by carving the gutter of kamoi deeper than that of the threshold.
Japanese: 敷居と鴨居にそれぞれ一本の樋（溝）を設け、鴨居の溝を敷居の溝よりも深く彫る事によって建具を落とし込み、必要に応じて取り外すことができるように工夫された。
English: In addition, from the point of technology, it is a similar technique and only an application of the innovative technique to carve two toi and have screens slide horizontally along tracks.
Japanese: 更に樋を二本彫り引き違いにする事は、技術論的には類似技術であり、革新的技術の応用に過ぎないと考えられる。
English: Considering the above, 'Shoji-to' seems to be a sliding Fusuma Shoji, set at the same time as 'Kenjo no shoji.'
Japanese: このように技術論的に考察すれば、「賢聖の障子」と同時に立てた「障子戸」が引き違いの襖障子であったと考えられる。
English: Apparently from the description of the section of the year 929 in "Nihongi Ryaku," that is, 'the overdrawn image of Kenjo sage on the shoji of Shishinden,' apparently the date of the appearance of 'Shoji-to,' that is, Fusuma, which was set at the same time of 'Kenjo no shoji,' was from 901 to 914.
Japanese: 『日本紀略』延長(元号)七年（929年）の条の、「紫宸殿障子を賢聖像に改書せしむ。」の記述から、「賢聖の障子」と、同時に立てた「障子戸」すなわちふすま建具の誕生の年代は、延喜年間（901～914年）であると推測される。
English: In "The Tale of Genji" there is a description that "Taketori Monogatari" (The Tale of the Bamboo-Cutter) is the first chronicle in history expressing "Taketori no Okina," the father of the beginning of the tales.'
Japanese: 「物語の出できはじめの親なる『竹取の翁』」という表現で、『竹取物語』が歴史的に最初の物語文学である事が、『源氏物語』の中に語られている。
English: Neither the writer nor the date of establishment of "Taketori Monogatari" are exactly known, but it is considered to be written before 900.
Japanese: 『竹取物語』は、作者不詳で成立年代も未詳だが、900年頃より以前の成立とされている。
English: Long ago, there was an old man named 'Taketori no okina (an old man cutting bamboo). He went into mountains and fields and cut bamboo to use in many ways.'
Japanese: 「いまは昔、竹取りの翁といふものありけり。野山にまじりて、竹を取りつつ、よろづのことに使いけり。」
English: The tale begins from Taketori no Okina finding Kaguya-hime (The Moon Princess) inside bamboo, and he gradually became rich by finding gold from cutting bamboo several times and had a residence with opulent Shitsurai as a millionaire would build.
Japanese: この竹取の翁が、かぐや姫を竹のなかから見つけだす所から物語は始まり、そののち、竹のなかより黄金を見つけること度重なり、だんだんと物豊かになり、ついに長者となって建てた邸宅のしつらいは、贅を尽くしたものとなった。
English: It says that 'For Shitsurai interior preparation, twill fabrics with painted pictures were set up as partitions.'
Japanese: 「うちうちのしつらいにはいうべくもあらぬ綾織物に絵をかきて間まいに張りたり」とある。
English: The term 'Shitsurai' originally refers to setting up furnishing and decorating them at moya and hisashi in shinden (main house) on the day of an honor ceremony, welcoming guests and holding a feast.
Japanese: 「しつらい（室礼、舗設）」とは、元来晴れの儀式や請客饗宴の日に、寝殿の母屋や廂（ひさし）に調度を整え、飾りつける事をいう。
English: In "Taketori Monogatari," there is the description; 'painted pictures on twill fabric to be pasted in every room.'
Japanese: 『竹取物語』の描写によれば、「綾織物に絵をかきて間毎に張りたり」とある。
English: Considering the expression of 'every room' apparently means Shoji partitions and it is unlikely that there were only wooden walls of bays in moya and hisashi.
Japanese: 間毎つまり部屋ごとにとなると、間仕切りの障子と考えられ、母屋と廂の柱間の板壁だけとは考えにくい。
English: In 'Taketori Monogatari zu' (pictures of The Tale of the Bamboo Cutter) and 'Naraehon' (a kind of picture story book produced by a painter in Nara), which were later works, sliding Fusuma and Mairado were painted.
Japanese: 後世の作ながら、「竹取り物語図」や奈良絵本「竹取り物語」では、引き違いの襖や舞良戸などが描かれている。
English: The invention of fittings which separate room of Shinden-zukuri in the style of a large hall was a big momentum of the development from a large space with multipurpose to small spaces with specific purposes and a significant innovation of architecture style which changed the style of living based on the separation between public and private in Shinden-zukuri residence.
Japanese: 大広間形式の寝殿造りの、内部空間を間仕切る建具の発明は、マルチパーパスの大きな内部空間から、特定の機能目的を備えた少空間への分離独立へ展開していく、大きな契機であり、寝殿造りの住宅の公と私の明確な分離に基づく、住まい方の変化をもたらした重大な建築様式の革新であった。
English: Considering that the set-in Shoji (fukushoji, or set-in translucent screens) and the sliding Shoji were invented almost at the same time, apparently there were sliding Fusuma as a part of residence of upper class until the establishment of "Taketori Monogatari."
Japanese: 嵌め込み式の障子（副障子）と引き違いの障子とは、ほぼ同時期の発明と考えると、『竹取物語』の成立時にはすでに一部の上流階級の邸宅には、引き違いの襖があった事になる。
English: From the evidence, although collateral evidence, the date of the appearance of Fusuma Shoji seems to be the period from 884 to 888.
Japanese: 傍証ながら引き違いの襖障子の誕生年代は、仁和年間（884～888年）まで遡ることが可能と思われる。
English: In "Manyoshu" there is a waka of KAKINOMOTO no Hitomaro, in which the word 'fusuma' (Japanese-style bedding) and 'hikite' (door pull - literally, "hand pull") seems to have been used as a play on words.
Japanese: 『万葉集』の中に、「衾：ふすま」と「引き手」を懸け言葉に使用したと思われる柿本人麿の歌がある。
English: Leaving my wife in Hikite no yama (Mt. Ryuo) of Fusumaji and trailing a mountain, I don't feel like I am alive.'
Japanese: 「衾道乎引手乃山爾妹乎還而山往者生跡毛無」（ふすまみちをひきてのやまにつまをかえしてやまじをいけばいきたここちもなし）
English: It is said that this waka expresses loneliness felt when Hitomaro buried his dead wife in this place and came home through a mountain path.
Japanese: この歌は、人麿が亡き妻をこの地に葬って（土に還して）、山路を帰る時の侘しさはかなさを歌ったものであるという。
English: If we guess that this waka was produced around the establishment of Taiho Code (in 701), judging from the period Hitomaro's flourished, there apparently were 'Fusuma Shoji' (an opaque sliding screen made of a wooden frame and thick paper) in limited places such as the fusumadokoro (place to sleep) in the Imperial Palace in those days.
Japanese: 人麿の活躍年代から推測して大宝律令（701年）制定の前後にこの歌が詠まれたとすると、その時代にごく限られた所、例えば御所の衾所（ふすまどころ寝所）などに「衾障子」があったと推測される。
English: It can be imagined that he admired 'Fusuma Shoji' which existed in a limited place, and included it into his waka dearly.
Japanese: このごく限られた所にしかなかった「衾障子」に憧れて、あえて歌に詠みこむ事をしたのではないかとも想像できる。
English: However, there are various theories for the interpretation of this waka, so that it might be too ambitious to go back one hundred and several decades for the appearance of Fusuma all at once, although it is very tempting to do so.
Japanese: しかしながら、この歌の解釈にはさまざまな異論もあるようで、襖障子の誕生を一気に百数十年も遡るのは、大変魅力的ではあるが、やや冒険的であるかも知れない。
English: The 'Yarido' began to be used mainly as an external partition for aristocrats' residence or in architecture for temples, but it seems to have been used as an inner partition as well.
Japanese: 貴族の邸宅や寺院建築に「遣戸」が主として外回りの隔て建具として使用され始めたが、間仕切りとしても使用されていたようだ。
English: Yarido' and 'Mairado' are wooden doors setting ireko-ita (thin panels of wood inserted between the rails and stiles of a pivot-hinged door) in surrounding Kamachi (door frame) and putting mairako (thin, parallel strips of wood about 2-3 cm wide and 1.8 cm thick affixed to the front and back of a door made of a single wooden panel and set in a frame).
Japanese: 「遣戸」「舞良戸」は、周囲の框に入子板を張り、舞良子（桟）を取り付けた板戸である。
English: Various designs of lightweight Mairado were elaborated as convenient doors and Mairado were often used as a swing door or a sliding door.
Japanese: 軽量化された舞良戸は便利な建具として、さまざまな意匠が工夫され、開き戸や引き違い戸として多用されていった。
English: The mairako was set in on one side or both sides as crosspiece horizontally or vertically in various designs such as the same interval or fukiyose (the arrangement of muntins, lattice, ceiling ribs, rafters, or similar structured elements in sets of two or three or more with a wide space between one group and the next).
Japanese: 舞良子（桟）は、片面又は両面に、横桟または縦桟として、等間隔や吹き寄せなど、さまざまな意匠を工夫して取り付けられた。
English: The invention of movable wooden wall set in the tracks carved in the threshold and kamoi led to the flowering in innovations of techniques of doors and applications and the devices for sliding Fusuma Shoji and yarido.
Japanese: 敷居と鴨居を設けて樋（みぞ）を彫った、可動式の板壁の発明が契機となり、建具技術の革新と応用発展が一気に開花し、引き違い戸の襖障子や遣戸を工夫発明していった。
English: The word 'yarido' itself means a sliding door, but it seems that it did not mean Fusuma Shoji and Akari-shoji but meant a sliding Mairado.
Japanese: 遣戸という言葉は、それ自体が引戸の意味であるが、襖障子や明かり障子を意味する事はなく、引き違いの舞良戸を意味していたようである。
English: The first form of Fusuma Shoji can be thought as a wooden panel pasted silk cloth with and drawn Chinese paintings or Yamato-e, and later because of pursuing lightweight doors it was changed to the new form with setting kumiko (strips of the wooden lattice positioned vertically and horizontally to make latticework used in gable pediments or sliding screens) on Kamachi and pasting figured silk on both sides for lightweight and decoration of Shitsurai.
Japanese: ふすま障子の当初の形態は、板戸に絹布を張り唐絵や大和絵を描いたものであったと考えられるが、建具の軽量化という技術課題のなかで、框に組子を設け両面に綾絹を張り、軽量化と室礼としての装飾の目的を達する襖建具が誕生したと考えられる。
English: On the other hand, yarido were used as an external partition and seems to be the lightweight form developed from tsumado, and the openable and closable yarido was an innovative fitting as an alternative to the clay wall of plaster which was not adequate for the humid climate of Japan.
Japanese: 一方遣戸は、外回りの隔て建具として使用され、妻戸を軽量化した発展的形態と考えられるが、開閉自在の遣戸の誕生は、湿度の高い日本の風土にとって不向きな塗り込めの土壁に代わる革新的建具であった。
English: In ancient texts the term 'Koshi' (格子) is often described as 'Koshi' (隔子), for example, in Kawachi no kuni Kanshin-ji Engi Shizaicho (Official Register and Inventory for Kanshin-ji Temple in Kawachi Province) in 884, there is a record that the four 'lattice doors' were set up in front of Nyohodo (a Buddhism hall).
Japanese: 「格子」は古文書では、「隔子」と書かれている事が多く、元慶七年（884年）河内国観心寺縁起資財帳によると、如法堂の正面に「隔子戸」四具が建てられていたと記録されている。
English: For the entrance of architecture of temples, the swing lattice doors became to be used often, and in addition, according to "Tonomine Ryakki" (brief sketch of Tonomine) the five lattice doors were set in front of Naijin (inner sanctuary of a shrine or temple) of the lecture hall in narabido (two temples) style which was built in 972 and the three lattice doors were placed to separate Naijin from Gejin (outer place of worship for public people).
Japanese: 寺院建築の正面には扉形式の格子戸が多用されるようになり、さらに『多武峰略記』によると、天禄三年に建立された双堂形式の講堂の内陣の正面に格子戸五間を建て込み、内陣と外陣の間仕切りに格子戸三具を建て込んでいた。
English: During the latter part of the Heian period, a sliding lattice door became to be used widely.
Japanese: 平安時代後期になると、引き違いの格子戸が広く使用されるようになった。
English: In the picture rolls such as "Genji Monogatari Emaki" and "Nenchu-gyoji Emaki" (picture roll of annual events), there are pictures of black lacquered lattice doors used as sliding doors or set-in partitions.
Japanese: 『源氏物語絵巻』『年中行事絵巻』などには、黒漆塗りの格子戸を引き違いに使ったり、嵌め込み式に建て込んだ間仕切りの様子が描かれている。
English: In the Phoenix Hall in Byodoin Temple which FUJIWARA no Yorimichi had built in 1053, there are not only door apertures in the four directions, but also koshi-yarido (wooden sliding lattice door) inside of them.
Japanese: 天喜元年（1053年）藤原頼通が建立した、平等院鳳凰堂は四周の開口部には扉を設けているが、その内側に格子遣戸もあわせ用いている。
English: This usage of koshi-yarido makes it possible to ensure daylight and airflow as well as functioning as a partition.
Japanese: このような格子遣戸の用い方は、隔ての機能を果たしながら、採光や通風を得る事ができる。
English: Among them, the house of TAIRA no Kiyomori, Izumi-dono of Rokuhara, was a luxury residence which represented his power.
Japanese: なかでも平清盛の六波羅泉殿は、その権勢を象徴する豪壮な邸宅であったという。
English: According to its reconstructed picture, it was very different from the conventional Shinden-zukuri house and was abounded in functional and rational ingenuity for using partitions.
Japanese: その復元図によると、従来の寝殿造りとはかなり異なり、間仕切りを多用した機能的合理的工夫がみられる。
English: Shitomido and Mairado had been the major external partitions except walls in the past times, but they could not prevent rain and wind if opened so that they were inconvenient doors.
Japanese: 室外との隔ては、従来壁面を除き蔀戸や舞良戸が主体であり、開放すると雨風を防ぐ事ができず、誠に不便な建具であった。
English: In order to play both roles for daylight and partitioning, a bamboo blind or a lattice door was used, but they were not suitable in winter.
Japanese: 採光と隔ての機能を果たすため、簾や格子などが使用されていたが、冬期は誠に凌ぎにくいことであった。
English: As a new door not only functioned as a partition ensuring daylight, they also preventing cold wind, the Akari-shoji was created.
Japanese: 隔てと採光の機能を充分に果たし、しかも寒風を防ぐ新しい建具として、明かり障子が誕生した。
English: However, only Akari-shoji could not bear the wind and rain so that it was used with others such as Mairado, Shitomi and a lattice door.
Japanese: しかし、明かり障子のみでは風雨には耐えられないため、舞良戸、蔀、格子などと併せて用いられた。
English: Akari-shoji were placed for 5.4 m wide as an external partition of Shinden Kita-hisashi in Izumi-dono of Rokuhara.
Japanese: 六波羅泉殿の寝殿北廂の、外回りに明かり障子が三間にわたって使用されていた。
English: In "Sankaiki" (Tadachika NAKAYAMA's diary) there are descriptions to 'remove Akari-shoji' or 'set Akari-shoji' in this Shinden or Hiro-bisashi (broad eaves).
Japanese: 『山槐記』には、この寝殿や広廂に「明かり障子を撤去する」とか「明かり障子を立つ」などの記述もある。
English: In the picture record of "Heike-nokyo" (collective term of Buddhist scriptures in dedicated by the Taira family" which was dedicated by TAIRA no Kiyomori with statements in Itsukushima-jinja Shrine in 1164, Akari-shoji was drawn in the hermitage of a priest.
Japanese: 平清盛が願文を添えて長寛二年（1164年）厳島神社に奉納した『平家納経』図録には、僧侶の庵室に明かり障子が描がれている。
English: Apparently the Akari-shoji of this time was made by setting Kamachi in four directions, handing four crossbars to big two tatezan (vertical frame), and pasting silk or tissue paper on one side.
Japanese: この時代の明かり障子の構造は、四周に框を組み、太い竪桟二本に横桟を四本わたし、片面に絹または薄紙を貼ったものであったという。
English: In the ancient documents on Shitsurai in Shinden-zukuri style there is a description that 'After building posts around and setting Kamoi lintels, lacquered Akari-shoji sliding doors are set in each room.'
Japanese: 寝殿造りの室礼を記した古文書の中に、「柱をたてまわして鴨居を置きてのち、塗子（ぬりこ）の明かり障子を間ごとに覆う」とある。
English: It is interesting to note that in the historical process of development of Akari-shoji, the edge of lacquered Nuriko (thing to be coated with) was used in Shinden-zukuri house and considered as Shitsurai the same as Fusuma Shoji.
Japanese: 明かり障子の歴史的発展の過程で、漆の塗子の縁が寝殿造りに使用され、襖障子と同様な室礼としての位置付けがあった事は、興味深いことである。
English: The Akari-shoji which uses a thin Kumiko-bone (formation of crosspiece vertically and horizontally such as lattice) for Kamachi like present Akari-shoji often appeared in the Emakimono (picture scroll) in the Kamakura period, but needed some time and technical improvement.
Japanese: 框に細い組子骨を用いる現在のような明かり障子は、鎌倉時代の絵巻物に多く登場するようになるが、多少の時間と技術改良を必要とした。
English: The Akari-shoji made at the time of reconstruction of Daishi-do Hall in the western part of To-ji Temple (To-ji Sai-in) in 1380 during the period of the Northern and Southern Courts is said to be the oldest Akari-shoji.
Japanese: 南北朝時代(日本)期康歴二年（1380年）の東寺西院大師堂の再建当時のものとされている明障子が、最古の明障子と言われている。
English: The Kamachi and crosspiece of the upper side and under side are made in the same width and put in the way of Jigoku-kumiko (vertical crosspiece and horizontal crosspiece are put alternately), and the front side and the lateral side of crosspiece are made in almost the same size.
Japanese: 上下の框と桟も同じような幅でできており、縦桟と横桟を交互に編み付ける地獄組子となっており、また桟の見付けと見込みもほぼ同じ寸法でできている。
English: In addition, there is also Komochi-shoji (two Akari-shoji set into a single track).
Japanese: なお一本の溝に二枚の明障子を引き違いにするという、子持ち障子というものもある。
English: The Akari-shoji of Zenshitsu (room for Zen sitting meditation) at Gango-ji Temple in the Kamakura period has one track with two sliding Akari-shoji.
Japanese: 元興寺の鎌倉時代の禅室の明障子が、一本の溝に二枚の明障子を引き違いにしている。
English: It might be easier to carve one wide track than two tracks.
Japanese: 二本の溝を彫るよりも、幅の広い溝を一本彫るほうがわずかに簡単であったのであろうか。
English: Since it is architecture of the style of the Zen sect, it seems to be reasonable to consider it as an artful pleasure.
Japanese: 禅宗様の建築であることから、技巧的な遊びと考えた方が妥当と思われる。
English: Therefore, the vertical Kamachi of the pillar side is made in almost the same size as the width of track, remaining Meshi-awase (crossover of sliding doors) unchanged.
Japanese: そこで召合わせの縦框はそのままにして柱側の縦框をほぼ溝幅に合わせて作ってある。
English: Komochi-shoji is also used in Ryoginan hojo (abbot's chamber) of Tofuku-ji Temple, which was the oldest remains of the architecture of Hojo room in Zen sect's style.
Japanese: 子持ち障子は、禅宗方丈建築の最古の遺構である、東福寺竜吟庵方丈にも使われている。
English: The two central Shoji can slide in above way and the outside two Shoji are smaller in width and permanently-set.
Japanese: 中央の二枚が上記の方法で引き分けられ、外の二枚は幅が狭く、開閉のできない嵌め殺しとなっている。
English: During the Kamakura period, the intercommunication with China which was interrupted since the abolishment of Kentoshi (Japanese envoy to China in the Tang Dynasty) began and trade with the Sung (dynasty) became active.
Japanese: 鎌倉時代に入ると、遣唐使を廃止して以来、途絶えていた大陸との交流が開始され、宋(王朝)との交易が盛んとなった。
English: In addition, continuous pressure by the powerful Menggu against the Sung dynasty led to an increase in the political asylum of priests one after another, and consequently the number of toraijin (people from overseas, especially from China and Korea, who settled in early Japan and introduced Continental culture to the Japanese) also increased.
Japanese: また、宋は強大となっていく蒙古の圧迫を受け続け、僧侶の政治亡命が相次ぎ、渡来人が増加していった。
English: The Todai-ji Temple destroyed in a fire by the Taira family, was reconstructed in the style and technique of China introduced by a priest, Chogen.
Japanese: 平家によって焼かれた、東大寺の再建は、僧重源がもたらした大陸の様式・技術を導入して建築された。
English: In Buddhist architecture, this style is called 'daibutsuyo' (the style of architecture introduced from China), while the new style of Buddhist architecture later introduced by a Zen sect was called 'zenshuyo.'
Japanese: 仏教建築では、この様式を大仏様（だいぶつよう）といい、のちの禅宗と共に伝わった、新しい仏教建築様式を禅宗様（ぜんしゅうよう）という。
English: For this type of temple architecture in continental style, the sangarado was used as a new fitting technique.
Japanese: この大陸様式の寺院建築に、新しい建具技術としての桟唐戸が用いられた。
English: The sangarado is a door made by setting Kamachi of four directions and a few crosspieces and inserting ireko-ita in between them.
Japanese: 桟唐戸とは、四周の框と縦横の数本の桟を組み、桟と框の間に入子板を嵌め込んだ扉である。
English: The conventional Itasando was a door made with several vertical planks in the frame of Kamachi and had a nailed rear crosspiece.
Japanese: 従来の板桟戸は分厚い板を数枚並べて框の枠を付け、裏桟に釘止めしたものであった。
English: The sangarado of Kaisando of Todai-ji Temple in daibutsuyo introduced by Chogen is a style that sets fukiyose of two horizontal crosspieces, with vertical crosspieces in the center and crosspieces in shinogi (the upper part of a timber that are cut diagonally on each side in order to form a peak).
Japanese: 重源の大仏様の東大寺開山堂の桟唐戸は、横桟を二本吹き寄せにして、中央に縦桟を配し、桟は山形に鎬（しのぎ）をとっている。
English: The characteristics of sangarado in Zen sect style are working with delicate forms such as putting transom of thin kumiko or hanazama (a latticework panel with a flower pattern attached to the muntins or a type of foliate panel with a flower pattern) on the upper side and setting karado for crosspieces.
Japanese: 禅宗様の桟唐戸は、上部に細い組子の欄間や花狭間を入れ、桟に唐戸面をとるなど、優美な細工を施しているのが特徴である。
English: In the later Zen sect architectural style, Katomado (specially shaped windows with many s-shaped curves found in a Zen temple) were devised.
Japanese: のちの禅宗様の建築様式は、独特のアーチ形をした曲線を意匠した花灯窓が工夫されている。
English: In the Shari-den (a special hall for keeping the Buddha's bones relics) of the Engaku-ji Temple, which is a representative architecture of Zen sect, while the central door adopts conventional sangarado, both side doors have large Katomado with sangarado set inside.
Japanese: 禅宗建築として代表的な鎌倉の円覚寺舎利殿では、中央は一般的な桟唐戸であるが、両脇の扉が花灯窓を大きく意匠した構えで、内側に桟唐戸を立て込んでいる。