nntsuzu/KFTT huggingface dataset:
English: Exterior decoration employing unusual materials (foreign animal leather or wood, for example) and precious metals fitted with stones and gems crafted by a master craftsman were artworks rather than articles of utility.
Japanese: 珍しい素材（国内には産しない動物の皮や木など）を使い、優秀な工人が貴金属に玉や宝石をちりばめて作り上げた外装は、実用を離れ美術品の範疇に入るものであった。
English: Legend has it that the scabbard of the second Excalibur Merlin gave King Arthur had a supernatural power.
Japanese: アーサー王がマーリンからもらった2本目のエクスカリバーの鞘には不思議な力があったと伝えられる。
English: Probably it was used because it was ideal as a scabbard material, with moderate hardness that does not damage the blade, moderate strength, and uniform quality suited for lacquer and other finishing.
Japanese: それは硬さが中庸で刃物を傷めず、強度も適度にあり、材が均質で漆塗り等の表面仕上げにも適するなど、優秀な鞘材としての特質を持っていたためと思われる。
English: The exterior decoration changed over time, majorly from thick and heavy designs all covered with metals to lighter and thinner ones with less metals.
Japanese: 外観は時代の流れと共に変化していったが、全体を金属で包んだ重く厚いものから、金属の使用を抑えた軽く薄いものへと移っていったのが、大きな流れと言える。
English: After wrapping a scabbard with shark skin, it was lacquered in black, indigo or vermilion, and then finished using a grinding stone to make a decorative pattern, which is characteristic to samezaya (a sheath made of sharkskin).
Japanese: 鮫皮を巻いてその上に黒・藍・朱などの色漆をかけ、それをさらに砥石で研ぎ出して装飾文様を浮き出させる「鮫鞘」である。
English: The solid, beautiful and unusual style caught on rapidly, and was prevalent by the mid Muromachi period.
Japanese: 堅固で美しく、しかも異様な雰囲気を醸し出したのですぐに広まり、室町時代の中頃には普及した。
English: One of the disadvantages of samezaya was that it shrinks when wet in the rain, making it difficult to draw the sword, but the art of decoration went beyond the inconvenience.
Japanese: 鮫鞘には雨天下で湿ると締まりすぎて刀が容易に抜けなくなることがあるという欠点があったが、その装飾上における特長はこれを看過するに足るものだったのである。
English: The 'Botanzukuri Kairagi Zamesaya Koshigatana' (important cultural property) housed in the Kyoto National Museum is from the period of the Northern and Southern Courts (Japan), but even in the mid Edo period, Sukeroku, who is the hero in the Kabuki masterpiece "Sukeroku" featuring the Edo idea of stylishness, carried 'an inro (pill case) and samezaya' on his waist, suggesting samezaya being a part of the artistic aspect of Japanese swords.
Japanese: 京都国立博物館収蔵の「｣（重要文化財）は南北朝時代(日本)のものだが、江戸時代中頃になっても「江戸の粋」を凝縮した歌舞伎の傑作『助六』で助六の腰にあるのは「一つ印籠と鮫鞘」となっており、その存在は日本刀の芸術性とは不可分のものだった。
English: Koshirae refers to a mounted and finished form of individual sword, where the blade is placed in a hilt (tsuka) and scabbard fitted with sword guard (tsuba), hanging fittings (ashikanamono) and other reinforcement fittings, and wooden parts are finished with lacquer.
Japanese: 刀身を柄と鞘に納め、鐔や吊り金具（足金物）、補強用の諸金具を取り付け、木地には漆を塗るなどして、個々の刀剣外装として仕上げられたものを拵（こしらえ）と言う。
English: Koshirae is classified into several groups having common features according to a period or region, each of which is called xx koshirae.
Japanese: 拵には時代や地方によって共通した特徴を持つ一群があり、それらを分類して～拵と呼ぶ。
English: For example, a group of characteristic uchigatana-goshirae crafted mainly in the Tensho era is called Tensho-goshirae.
Japanese: 例えば天正年間を中心として作られた、特徴的な打刀拵の一群を天正拵（てんしょうごしらえ）と呼ぶ。
English: Another example is a group of uchigatana-goshirae crafted in the Kumamoto domain in Higo Province throughout the Edo period called Higo-goshirae.
Japanese: また、肥後熊本藩で江戸時代を通じて作られた打刀拵の一群は、肥後拵（ひごこしらえ）と呼ばれる。
English: On the other hand, the mounting consisting only of a hilt and scabbard made of unlacquered Japanese Bigleaf Magnolia, with mekugi (a rivet) in the hilt, is called shirasaya (white scabbard).
Japanese: 一方、朴の木の柄と鞘のみで白木のまま仕上げられ、柄には目釘（1）を入れただけの外装を白鞘（しらさや）と言う。
English: Shirasaya is exclusively designed to protect swords, and the scabbard made of wood in white controls the humidity inside, preventing the blade from rusting.
Japanese: 白鞘は刀剣類を保存することに特化した鞘で、白木のままのため、鞘内の湿度が調整され、刀身が錆びにくいと言われる。
English: If the blade should rust due to improper maintenance or other reasons, the scabbard can be split at its juncture to clean inside.
Japanese: それでも手入れの不備などで錆びたときには、鞘を合わせ目から割って、中の掃除をすることがある。
English: For this reason, shirasaya is usually assembled using a glue of mashed rice to facilitate splitting.
Japanese: そのため、白鞘は飯粒を練って作った糊で貼り合わせてあるだけで、比較的簡単に割れるようになっている。
English: Yakuza movies often show battle scenes using shirasaya swords, but, as might be surmised, they are not stout enough for rough use.
Japanese: ヤクザ映画などでは、白鞘のままの刀で格闘する場面が見られるが、当然激しい使用に耐えられるものではない。
English: The history of shirasaya is relatively new, and it is said that their production was started in the late Edo period.
Japanese: 白鞘の歴史はそれ程古くはなく、江戸時代も後期になって作られ始めたと言う。
English: Probably, shirasaya was first introduced in families of the upper-class samurai, mainly daimyo (Japanese feudal lord) who had a collection of swords, to preserve the swords with care, which were regarded as an essential tool of samurai.
Japanese: 大名等、蔵刀が多い上級の武家では、武士の表道具と言われる刀を大切に保存するために、白鞘を用い始めたのであろう。
English: However, it seems that it spread among the general public after the decree banning the wearing of swords was promulgated in Meiji Period, when swords worn by samurai became no longer necessary and went into storage except for those for military use.
Japanese: しかし、一般的に普及したのは明治の廃刀令以降と思われ、それまで武士が身に着けていた刀が、一部分の軍用の他には無用の長物となり、保管の対象になってしまった。
English: The expression 'kokushitsu-no-tachi' (black-lacquered sword) refers to the whole sword including the blade instead of 'black-lacquered sword mountings.'
Japanese: 「黒漆の太刀」と言った場合、刀身を含めた全体のことを言っているのであって、「黒漆を塗った太刀拵」の意味ではない。
English: The differentiation such as tachi or katana is also attributed to the fittings of each sword, and the blades themselves were rather similar and shared commonalities (however, blades had shapes that suit their respective needs, which were taken into account in fabrication).
Japanese: 太刀や刀という区別も、外装が持つ属性に起因するもので、刀身自体に互換性が無いほどの差異がある訳では無かった（もちろん、それぞれに適した刀身の姿があり、制作時にはそれに則って作られている）。
English: Later, when blades and fittings came to be preserved separately, in shirasaya and using tsunagi (wooden blade used for storing fittings) respectively, the two had to be differentiated and the term 'koshirae' was coined.
Japanese: それが、刀身は白鞘に入れ、外装にはつなぎ（2）を入れて別に保管するようになった為、分けて呼ぶ必要が生じ「拵」と呼ばれるようになった。
English: Mekugi: A nail-like, 2- to 3-cm long rivet that goes through both the hilt and nakago (tang) that extends from the blade to fix the tang in place, thus preventing the tang from coming out of the hilt.
Japanese: 目釘（めくぎ）柄から刀身の茎（なかご）が抜けないようにする為、双方を貫通して差し込まれた、長さ２～３センチ程の釘状の部品。
English: A wooden blade substitute used to link the hilt and scabbard which should be linked by a blade.
Japanese: 本来刀身が入っていることによって連結されている柄と鞘に、刀身の代わりに入れられる木製の刀形。
English: Tunagi is also referred to as takemitsu (bamboo sword), but because they are mainly made of Japanese Bigleaf Magnolia these days, they are simply called tsunagi.
Japanese: 竹光と言われることもあるが、現在では殆ど朴の木で作られるため、単につなぎと呼ばれる。
English: From the bronze swords with remnants of what appear to be scabbards excavated in the Yayoi section, there seems to have been some kind of sword mounting culture in the Yayoi period, but details are unknown.
Japanese: 弥生時代の出土品に、鞘らしきものの痕跡をとどめる青銅剣があることから、既に何らかの刀剣外装の文化があったと思われるが詳細は不明。
English: From sections of the Kofun period (tumulus period) that followed, more artifacts were excavated, including fittings the majority of which bear pommels with characteristic decoration, as seen in examples such as kantotachi (sword with a ring pommel) and kabutsuchi-no-tachi (sword with a pommel having a fist-like end).
Japanese: 次の古墳時代になると出土品が多くなり、環頭大刀（かんとうだち）や頭椎大刀（かぶつちのたち）など、柄頭に特徴的な装飾がある外装が目立つようになる。
English: The hilts and scabbards fitted with abundant decorations including gilt-bronze rings, embossed gilt bronze/silver sheets, and gold and silver lines still remained their glitter despite their artifact nature, conveying luxurious atmosphere at the time they were created.
Japanese: 柄や鞘には金銅製の筒金や、模様を打ち出した金銅または銀の薄板、金線や銀線などが多様され、出土品でありながら今尚その輝きを残していて、制作当時のきらびやかな様を想像させる。
English: The length of the swords at the time was designed for use with one hand, and the ball-like pommels found in kabutsuchi-no-tachi may have been for practical use similar to the knob of a baseball bat, but whether such large swords fitted with decorative mountings were really used or not remains unknown.
Japanese: この期の大刀の柄の長さは片手用で、頭椎大刀のように球形に張り出した柄頭は、バット(野球)のグリップエンドのように実用的な意味もあったと思われるが、これらの豪華な外装に包まれた大刀が実際に使用されたかどうかは判らない。
English: Swords housed in Shosoin (treasure repository) are valuable resources in studying the sword mountings in the Nara period.
Japanese: 奈良時代の刀剣外装を語るうえで、正倉院収蔵の刀剣類は貴重な存在である。
English: They are some of few swords as well as historical materials from the Nara period, which are preserved in an excellent condition as art objects much favored and passed down over generations.
Japanese: 数少ないこの期の刀剣の史料であるとともに、伝世品であるため極めて状態が良い。
English: One example that represents such items is Kingindenso-no-Karatachi, featuring a hilt covered with white shark skin, karatsuba (Chinese-style sword guard), elaborately pierced nagakanamono (cylindrical fittings mounted around the scabbard), and hanging fittings (ashikanamono) with yamagata-kanamono (mountain-shaped fittings), all of which are found in ornamental swords in later periods, which makes the sword deemed as their forerunner.
Japanese: 代表的なものに金銀鈿荘唐大刀（きんぎんでんそうのからたち）があり、白鮫（白いままの鮫皮）を巻いた柄、唐鐔、精緻な透かし彫を施した長金物（鞘に嵌める筒状の金具）、山形金物が付く足金物（吊り金具）などの特徴は、後の時代の飾剣（かざりたち）と共通のもので、その祖形であると思われる。
English: Whereas most of the swords before the Heian period were either imported from China or the Korean Peninsula, or modeled after them and domestically produced, swords in the Heian period and after saw development of styles original to Japan deriving from those imports.
Japanese: 前時代までの刀剣が、中国や朝鮮半島からの伝来品か、それらを模して国内で作られたものが多かったのに比べ、平安時代に入ると国風文化の進展に伴い、伝来品を下敷きとしつつも我国独自の様式が形作られていった。
English: The first half of the Heian period was an era of straight swords, during which the ornamental sword style which is the form of highest-rank sword mountings was established and adopted when attending ceremonies wearing sokutai (traditional ceremonial court dress), but such style was only allowed to the highest-ranked Kugyo (the top court officials).
Japanese: 平安時代も前半はまだ直刀の時代で、この時期に最高位の刀剣外装である飾剣様式が完成し、束帯姿で儀式に参列する時などに佩用されたが、上級の公卿にしか使用は許されないものであった。
English: The swords were generally similar to Karatachi (Chinese-style sword), but their hilts and scabbards became slenderer and more elegant, and the blades were substituted by iron bars, making the swords ritual objects dedicated to ceremonies.
Japanese: 全体的に前時代の唐大刀に似るが、柄や鞘が細長く優美になり、内部には刀身ではなく細い鉄棒状のものが入っているだけで、純然たる儀仗用の外装である。
English: One example that represents such items is Nashiji radenkinso no kazaritachi (Sword mounting of kazari-tachi type, with mother-of-pearl inlay decoration and gold fittings on nashiji lacquer ground), which is a national treasure housed in Tokyo National Museum.
Japanese: 代表的なものに東京国立博物館所蔵の国宝、梨地螺鈿金装飾剣（なしじらでんきんそうのかざりたち）などがある。
English: Because these sumptuous swords were expensive, hosodachi (narrow blade)-style swords with partially omitted mountings were also invented and worn in place of ornamental swords according to the rank or economic status.
Japanese: また、贅を尽くした飾剣は高価であったため、部分的に省略した細太刀（ほそだち）様式も作られ、飾剣の代として身分や経済力に応じて佩用された。
English: These swords were required in court ceremonies, and after the era of wanto (curved swords, Japanese swords in a strict sense), from the late Edo period through Meiji and Taisho periods to the early Showa period, they were created with slight changes added over the course, although much decreased in number.
Japanese: これらは宮中の儀式に必要なもので、弯刀（わんとう反りのある刀、狭義の日本刀）時代に入ると、反りが付くようになるなど、若干の変化を加えながら、江戸時代末期から明治、大正、昭和初期に至るまで、少数ではあるが作られ続けた。
English: The swords mentioned earlier were generally used in ceremonies, and it is unlikely that they were carried to battlefields.
Japanese: これまで述べてきた刀剣外装は概ね儀仗用のもので、戦陣に赴くときに佩用されることは無かったと思われる。
English: On the other hand, few of the mountings for swords for practical use remain because they were destined to be consumed.
Japanese: それでは実用的な外装はどうであったかと言うと、消費されるのが運命だったそれらの外装は、ほとんど残されていないのが実状だ。
English: Some of rare examples are warabi-teto (which is called Kurozukuritachi in Shosoin) and kurotsukuri-no-tachi which have been housed in Shosoin since the Nara period, and kurourushi-no-tachi from the Heian period housed in Kurama-dera Temple in Kyoto, which is said to have been carried by SAKANOUE no Tamuramaro.
Japanese: 希少な例として、正倉院に奈良時代から伝わる蕨手刀（わらびてとう正倉院では黒作横刀と呼称）や黒作大刀（くろつくりのたち）などがあり、京都の鞍馬寺には坂上田村麻呂の佩用と伝えられる平安時代の黒漆大刀（くろうるしのたち）がある。
English: Their mountings featuring scabbards covered with thin leather, black-lacquer finish, simple and practical fittings, and minimal decoration suggest that the mountings are designed for practical use.
Japanese: これらは鞘の木地に薄革を着せ黒漆をかけるという手法や、簡素で実用的な金具類の使用、装飾がほとんど無いなどの特徴から、実用的な外装であったと思われる。
English: However, their attentiveness to details and excellent designs suggest that they are higher in quality than those used by common soldiers.
Japanese: しかしこれらとて細部まで神経の行き届いた作りの良さから、一般の兵卒用よりは、かなり上等なものであろう。
English: With the advent of Wanto (curved sword) believed to have taken place in the mid-Heian period, tachi (which are differentiated from another tachi [大刀] which are straight long swords) came into being.
Japanese: 平安時代中期頃と言われる弯刀の誕生により太刀（たち直刀の大刀とは区別）が出現する。
English: Scabbard curved to suit the blades are fitted with two hanging fittings (ashikanamono), one around the opening and the other around the center of the scabbard, on each of which a braided cord is tied, like long swords manufactured in ancient times.
Japanese: 刀身に合わせて反りがつくようになった鞘は、上代の大刀同様鞘口付近と中程の二箇所に足金物が付き、それぞれに帯取（おびとり）が取り付けられる。
English: By passing o (string) of tachi through the cords and winding the o around the waist, the tachi is retained almost horizontally.
Japanese: それらに太刀の緒を通して結び付け、太刀の緒を腰に腰に巻付けることにより、ほぼ水平に太刀が保持される。
English: The o of tachi is made of braid or leather, usually 3 meters or more in length, which makes it long enough to be wound twice over an armored waist.
Japanese: 太刀の緒には組紐や革紐が用いられ、長さは通常３メートル以上にもなったため、鎧を着用した上からでも二重に回せる余裕が有った。
English: The basic style features a semegane fitting mounted between the ninoashi (ashikanamono around the scabbard center) and ishitsuki fitting (end cap), which is a style already seen in warabite and other swords in the late kofun period and inherited to the Edo period in handachi (koshirae employing handachi [transitive style between curved swords to straight swords]-style fittings) and the early Showa period in tachi-style military swords.
Japanese: 二ノ足（足金物の内中央寄りの方）と鞘尻の石突金物との間には責金が一つ入るのが基本的な形式で、これは古墳時代晩期の蕨手刀等に既に見られる形式であり、下っては江戸時代の半太刀（はんだち太刀風の金具を用いた打刀拵）や昭和初期の太刀風の軍刀にまで踏襲された。
English: The scabbard are lacquered using techniques including 'ishime-nuri' (powdered lacquer surface to produce a coarse finish), and 'tataki-nuri' (semigloss uneven coating) to obtain a non-slip effect, 'ro-nuri' (gleaming lacquer finish), and highly ornate 'kinpun-chirashi' (sprinkling of gold powder), 'aogai-chirashi' (sprinkling of mother-of-pearl), 'kin-makie' (gold lacquer), 'scabbard covered with scraped shark skin,' 'xx kizami' (inro-kizami, grooved line patterns), and rare techniques using 'leather' or 'scales.'
Japanese: 鞘の塗りには、滑り止めの効果を狙った「石目塗り」「叩き塗り」、凹凸の無い「呂塗り」（ツヤ塗り）、高い装飾性をもつ象嵌の「金粉散らし」「青貝散らし」「金蒔絵」「鮫皮研ぎ出し鞘」、滑り止め効果と装飾性をあわせもつ「～分刻み」（印籠刻み）などがあり、「革」や「鱗」を使った特殊なものもある。
English: Manufacturing of Japanese swords are strictly based on the division of labor, and in most cases scabbard crafting and lacquering were done by different groups of people.
Japanese: （少なくとも近代以降の）日本刀の製作は分業が徹底されているが、鞘に関してもそれ自体を作る職人と塗りの職人は別の者が担当することが多い。
English: In army, the first scabbard made in 1886 was plated and glittering silver in color, but scabbards came to be frosted from 9-4- and 9-5-model swords to make them less noticeable to enemies.
Japanese: 陸軍においては、最初の明治十九年制刀は、メッキ加工され銀色に輝いていた鞘だったが、敵機に見つかり易いために、九四式軍刀および九五式軍刀からはメッキに代わり艶消しの塗装を施されるようになった。
English: Although most of the 9-4- and 9-8-model scabbards were made of iron, they were too heavy for battlefields and gradually replaced with wooden ones covered with leather.
Japanese: 九四式と九八式は鉄鞘のものも多いが、戦地用には重過ぎるため、革をかぶせた木製の鞘が多用されるようになっていった。
English: In navy, swords were more ceremonial, and the tachi-style army sword ordained in 1937 employed scabbards with a black-lacquered or scraped shark skin finish.
Japanese: 海軍においては、儀杖的な意味合いが強く、昭和１２年制定の太刀型軍刀は、黒漆塗りもしくは研出し鮫皮巻の鞘が用いられた。
English: Among the navy swords, some of those used by naval brigades were covered with leather like those of army.
Japanese: 海軍刀においても、海軍陸戦隊で使われたものには陸軍同様鞘に革をかぶせたものも存在する。
English: In the sword-drawing form of Japanese martial arts, beginners and some schools have employed wooden swords for training since the Edo period.
Japanese: 日本武術の抜刀術において、初心者または一部の流派では江戸時代から鞘木刀を稽古に使用している。
English: Oyama or Onnagata refers to the actor who acts the role of a young woman, the duty of the actor, or the pattern of acting itself, in Kabuki.
Japanese: 女形・女方（おやま・おんながた）とは、歌舞伎において若い女性の役を演じる役者、職掌、またその演技の様式そのものを指す。
English: In the original meaning, the term, actors who play oyama should not be limited to men, but today, oyama is often recognized as the word which refers to `the man acting a woman.'
Japanese: 本来の語義からいえば、女形を演じる役者は男にかぎられるものではないが、現在では「男が女を演じる」という認識に立って理解されることが多い。
English: Derived from Kabuki (traditional drama performed by male actors), oyama came to refer to the actors of popular drama who play the role of women.
Japanese: 歌舞伎より転じて大衆演劇などにおいて男性俳優が女性の役を演じることをも称するようになった。
English: The Chinese character, '方' means one's duty, responsibility, and role, as in shite-gata (方), waki-gata (方) of Noh play, therefore, it should be represented by `onnagata (方)' based on the original meaning.'
Japanese: ガタは「方」つまり、能におけるシテ方、ワキ方などと同様、職掌、職責、職分の意を持つものであるから、原義からすれば「女方」との表記がふさわしい。
English: In Kabuki, it is commonly read as 'onnagata', and 'oyama' is only used when it specially follows another word such as tate-oyama or waka-oyama.
Japanese: 歌舞伎では通常「おんながた」と読み、立女形（たておやま）、若女形（わかおやま）のような特殊な連語の場合にのみ「おやま」とする。
English: Since the best role of onnagata of Kabuki is oiran, it may have been diverted and used.
Japanese: 歌舞伎女形の最高の役は花魁であることから、これが転用されたとも考えられる。
English: In addition, onnagata existed in Beijing opera of China, but nowadays the role of onnaga is acted by actresses.
Japanese: なお、中国の京劇においても女形が存在したが、現在ではその役を女優が行っている。
English: The onnagata of kabuki refers to actors who expertly act the following roles.
Japanese: 歌舞伎における女形は、次のような種類の役を専門的に演じる役者を指す。
English: In terms of an old woman or a nun, actors of kashagata (old female roles) expertly played those roles in the Edo period.
Japanese: 老女・尼などは、江戸時代には花車方の役者が専門的に演じたものである。
English: It is not onnagata but the actors for enemies who take charge of the role of female enemies (examples; Yashio of "Meibokusendaihagi," Iwafuji of "Kagamiyama Gonichi no Iwafuji").
Japanese: 女の敵役（『伽羅先代萩』の八汐、『加賀見山再岩藤』の岩藤など）は、女形ではなく、敵役の役者の職掌である。
English: Today, the category of 'the role of enemies' disappeared and was absorbed by tachiyaku (a leading male-role actor), and tachiyaku act those roles based on the tradition that has been handed down since the Edo period.
Japanese: 現在では「敵役」という区分は消滅し、立役のうちに吸収されているが、江戸時代以来の伝統を重んじてこういった役は立役が演じる。
English: One of the reasons that those roles are not acted by onnagata actors, who are famous for their beauty, is that it is difficult to convince audience that they are villains, which will make it difficult to produce a drama.
Japanese: 美貌を売り物にする女形役者がこうした役をつとめると、ふてぶてしい極悪人であることを観客に納得させることが容易ではなく、舞台演出が困難になってしまうことが配慮されていることもそのひとつの理由である。
English: It is not onnagata but dokekata (a clown) (and present tachiyaku [a leading male-role actor] that absorbed dokekata is also included) that take charge of the female clown roles (example; maid servant, rin of "Kanadehon Chushingura" [The Treasury of Loyal Retainers], tofu buyer of "Imose-yama Onna Teikin"), which are rare roles of hayaku (unimportant role).
Japanese: 端役のなかにまれ見られる女の道化役（『仮名手本忠臣蔵』の下女りん、『妹背山婦女庭訓』の豆腐買など）は、女形ではなく、道外方（およびそれを吸収した現在の立役）の職掌である。
English: Onnagata acts the roles of princesses examplified by `three princesses' (Princess Yaegaki, Yukihime, Tokihime), oiran, a young girl, a married woman, or a maid working in the domestic quarters of a shogun or daimyo.
Japanese: 女形が演じるのは「三姫」（八重垣姫、雪姫、時姫）に代表される姫君や花魁や若い娘や人妻、奥女中などである。
English: However, the roles of beautiful boys, who are dressed as a woman such as kichisa of "Sannin kichisa," Benten Kozo (Benten the Thief) of ""Aotozoshi hanano nishikie" (Shiranami Gonin Otoko (The Five Shiranami Men), are also acted by onnagata.
Japanese: ただし『三人吉三』のお嬢吉三や『青砥稿花紅彩画』（白浪五人男）の弁天小僧のような女装の美少年を演じるのも女形である。
English: Yosegi zaiku is a traditional craft often seen at souvenir shops in the town of Hakone as well as in countries overseas.
Japanese: 寄木細工（よせぎざいく）は、箱根町や海外の土産物屋でよく見られる伝統工芸品である。
English: It is a technique in which traditional Japanese patterns, such as shima (stripes), ichimatsu (checks), sayagata (gossamer-figured pattern), asanoha (stylized hemp leaf pattern), masu (square checks), yabane (fletched arrow pattern) and seikaiha (pattern of waves in blue ocean), are created by yosegi (wooden mosaic) work.
Japanese: 縞（シマ）、市松、紗綾型（サヤガタ）、麻の葉、マス、矢羽根、青海波（セイカイハ）など日本の伝統文様を木で寄せた技法である。
English: The Tokyo-Hakone collegiate ekiden race, held annually in Japanese New Year, is known for presenting a trophy made of yosegi zaiku to the winning team of the first leg of the race.
Japanese: 毎年正月に開催される東京箱根間往復大学駅伝競走では、往路優勝チームに寄木細工で作られたトロフィーが授与されることで知られている。
English: The materials used are brush wood pieces such as Japanese bigleaf magnolia, bitterwood, cherry, cornel and tamo (Fraxinus mandshurica or Fraxinus sieboldiana, a type of ash) that are found throughout Japan, as well as jindai (something that was buried underground or submerged in water for many years) such as katsura (Japanese Judas tree) that fell, buried in soil and then dug out several hundred years later.
Japanese: 材料は日本各地にある、ホオ、ニガキ、サクラ、ミズキ、タモなどの雑木、倒木して土に埋まり数百年かかって掘り出された桂などの神代（ジンダイ）などを使用する。
English: For material selection, those with less red color are used for koyosegi (small yosegi), and the strongly red-colored ones are used for muku (solid color).
Japanese: 材料選びは赤身が弱いものを小寄木（こよせぎ）、強いものを無垢にする。
English: The wood pieces are cut across the grain, adjusted with a hand plane, then cut along the grain until they are 3 to 4 mm in thickness.
Japanese: 横挽きして手押し鉋で修正し、縦挽きして尺貫法で1分～1分5厘、約3ミリ～4ミリと厚さを決める。
English: The wood pieces are thinned to a finished thickness of 2.5 to 3.65 mm with a power plane.
Japanese: 自動鉋盤で2.5～3.65ミリというように木取りの仕上がりの寸法を決める。
English: The piece to be inlaid is bonded onto the pattern on the base piece, and when the surface plate is tilted and ground, the inlay piece fits precisely into the base piece.
Japanese: はめる板を地板のはめ込みたい部分に模り上で接着させて定盤を傾斜させて本挽きすると、はめ込まれる板がピッタリ地板に入る。
English: Muku pieces can be bonded with various wooden materials if the cross-sectional area is large.
Japanese: 無垢（むく）材は広い木端面があればいろいろな木材で接合は可能である。
English: Large striped blocks can be made into round trays, guinomi (large sake cups) or natsume (containers for storing green tea leaves or powdered green tea) using a woodworking turner or a lathe to create a beautiful, three-dimensional curved surface.
Japanese: 大きな縞のブロックを木工のろくろ、旋盤などを使い立体的な美しい曲面に仕上げ、丸盆、ぐいのみ、なつめなどができる。
English: Multiple pieces of various types of wood with different colors are gathered together and bonded with glue to create a seed plate with a geometric pattern.
Japanese: 色が異なる各種の木片を複数寄せ合わせて接着剤で止め幾何学的な模様のある種板を作成する。
English: In the case of asanoha pattern, three lines are inserted into a triangle to make a triangular yosegi unit pattern.
Japanese: 麻の葉の場合は三角を３つにスジを入れて１つの三角の寄木、単位文様を作る。
English: Yosegi pieces shaped into a hexagon are adjusted and trimmed flat at the ends, and the whole assembly is put into a template and pressure is applied using a vice.
Japanese: 六角にした寄木を鉋で面一（つらいち）に修正とスジを型板に入れ万力をかける。
English: In the oyose step, quality of the materials is determined based on each pattern unit, and the pieces are made into koyosegi with a good balance.
Japanese: この大寄せでは各単位文様から大きさ、材料の良し悪しを決めていきバランスのよい小寄木にしていく。
English: Zuku pieces are bonded onto the surface of other woodworking products such as wooden boxes, and they are used for appreciating the pattern and the motifs.
Japanese: ズクは木箱などの他の木製品の表面に貼り、その文様、絵柄を楽しむためのものである。
English: Yosegi, such as koyosegi, sansui and daimyo gyoretsu (feudal lord's costumed procession), or another inlay work is inlaid with wood, then moistened zuku plate is shaved with a plane.
Japanese: 小寄木、山水、大名行列などの寄木または木象嵌に埋木を施して、湿らせたズク板を鉋で削る。