nntsuzu/KFTT huggingface dataset:
English: Now it is a qualification certified by the Traditional Crafts Industry Promotion Association Foundation, but can be called a nationally-accredited qualification because it is based on the regulations of the Act concerning the Promotion of Traditional Craft Industries.
Japanese: 現在は(財)伝統的工芸品産業振興協会が認定事業を行っているが、伝産法の規定に基づく言わば国家資格である。
English: The qualifications of candidacy for the examination are that candidates be engaged directly in the manufacture of Traditional Crafts designated by the Minister for Economy, Trade and Industry, that as of April 1st of their examination years, the number of years of their work experience be 12 or more, and that they live principally in the production areas of Traditional Crafts.
Japanese: 経済産業大臣指定伝統的工芸品の製造に現在も直接従事して試験実施年度の4月1日現在、12年以上の実務経験年数を有して、原則産地内に居住している者である。
English: But unions of some production areas establish their own internal rules: As for Inami Carving (the secondary designation) in Nanto City, Toyama Prefecture, the number of years of candidates' work experience should be 20 or more.
Japanese: しかし、富山県南砺市の井波彫刻(第2次指定)では20年以上の実務経験を有する者でなければ受験できないなど、各産地組合において独自の内部規定を設けている場合がある。
English: In the knowledge examination, questions about the qualities of a traditional craftsman and the expertise are asked and examination papers are graded by the Traditional Crafts Industry Promotion Association Foundation.
Japanese: 知識試験は伝統的工芸品産業振興協会が伝統工芸士としての資質や専門的知識についての出題と採点を行う。
English: The practical and interview examinations are commissioned to the union of each production area because highly specialized experience and personal qualities are tested in these examinations.
Japanese: 実技試験と面接試験については極めて専門的な技術や個人的な資質を問われるため､産地組合に委託される。
English: The examination is generally conducted every September, and admission decisions are made by the Traditional Crafts Industry Promotion Association Foundation.
Japanese: おおむね９月中に試験が実施され、合否の判断は伝統的工芸品産業振興協会が行う。
English: But in reality, the practical and interview examinations submitted by the union of each production area get preference over the knowledge examination.
Japanese: しかし、知識試験より産地組合から提出される実技と面接試験が優先されるのが実情である。
English: After being notified of acceptance in mid-December, he or she applies for registration at his or her production area committee and is registered as a traditional craftsman in late February the next year.
Japanese: 12月中旬の合格通知後に産地委員会を通じて登録申請を行って、翌年2月下旬に伝統工芸士として登録される。
English: As for story of engravers of tenkoku, major examples in China include "The Story of Engravers of Tenkoku" written by Ryoko SHU and "A Story of Engravers of Tenkoku, Continued" written by Keishuku OH, and major examples in Japan include "A Story of Japanese Engravers of Tenkoku", literary remains left by Keisho Nakai, and "A Story of Engravers of Tenkoku, Corpus" compiled by Chukei FUSHIMI.
Japanese: 代表的な印人伝としては、中国では周亮工『印人伝』・汪啓淑『続印人伝』、日本では中井敬所の遺稿『日本印人伝』や伏見冲敬編『印人伝集成』などが挙げられる。
English: Kyoto Cultural Exhibition is an exhibition which is held in Kyoto.
Japanese: 京都文化博覧会（きょうとぶんかはくらんかい）は、京都市で開催される博覧会。
English: This was initiated by Kyoto University students (returnees [children of families that have returned to Japan after long stays overseas]) who planned "to communicate the charms of Japan to the world".
Japanese: 京都大学在学の学生（帰国子女）が、『日本の魅力を世界に発信したい』として企画したのが発端。
English: The plans included the 'Japan's Charms to be Introduced to the World' exhibition, performances and booths by celebrities in various fields, and so on.
Japanese: 「世界に紹介したい日本の魅力」展や、各界著名人によるパフォーマンスやブース企画など。
English: It was the development of the 'Student Guide Competition' which was held by some members of a student interpreter/guide organization in Kyoto in 2006.
Japanese: 京都の学生通訳ガイド団体メンバーの一部が2006年に開催した「学生ガイドコンペティション」が発展したものである。
English: It was intended not only to show traditional performing arts, but also to introduce Japanese thoughts behind them.
Japanese: 伝統芸能を見せるだけでなく、その奥にある日本的な思想も合わせて紹介。
English: Before and after each performance, pre-selected students (including overseas students) explain the spiritual nature ('Japanese minds') behind traditional arts, and also how they are reflected in the present age.
Japanese: 各パフォーマンス前後に、事前に選ばれた学生（留学生を含む）が、伝統芸能の奥にある精神性（「日本の心」）を説明し、それが現代にどう生かされているかを解説する。
English: The winner at the first Kyoto Cultural Exhibition introduced Budo (martial arts) (Kendo [Japanese art of fencing]) from the viewpoint of the Japanese mind called 'ki' (will power and good spirits).
Japanese: 第1回京都文化博覧会での優勝者は、武道（剣道）を「気」という日本の心から紹介した。
English: It was first performed at Haruki-za in Tokyo (present-day Hongo-za) in October, 1881.
Japanese: 1881年（明治14年）10月、東京・春木座（のちに本郷座）で初演。
English: When it was performed at Kabuki-za in June 1891, it was drastically revised by his disciples such as Shinshichi KAWATAKE (the third).
Japanese: 1891年（明治24年）6月、歌舞伎座で上演の際、弟子の河竹新七(3代目)らによって、大幅に改訂された。
English: They added 'Kinpirahomon arasoi' in the opening act..
Japanese: この改訂により、序幕に「公平法問諍（きんぴらほうもんあらそい）」が加えられた。
English: Kinpirahomon arasoi' performed at a playhouse in Edo, Ichimura-za, gains enormous popularity, so a lot of people come to see it.
Japanese: 江戸の芝居小屋市村座では新狂言「公平法問諍」が大評判で多くの人が詰めかけている。
English: When a samurai (a warrior), a member of 'Shiratsuka-gumi' that is a group of 'hatamoto-yattko' (young upper vassals of Tokugawa house who form a group and ace violently) picks a fight with passengers of a parent and a child, TOKEN Gonbei, a machi-yattko (ordinary people who are defiant toward 'hatamoto'), intervenes and helps them out of the trouble.
Japanese: 旗本奴の白柄組の侍が通行人の親子に難癖をつけているのを町奴唐犬権兵衛が仲裁に入り親子の難儀を救う。
English: When the play is reaching the most interesting part, members of Shiratsuka-gumi go on the drunken rampage and ruined the play.
Japanese: 狂言も佳境に入ったときに酒に酔った白柄組らが狼藉を働いて舞台を台無しにする。
English: Coincidentally, MIZUNO Nariyuki, head of Shiratsuka-gumi, is in the audience seat to see the play and he has grudge against Chobei.
Japanese: 折しも桟敷で舞台を見ていた白柄組の頭領水野成之は、長兵衛に遺恨を持つようになる。
English: If a bloody affair occurs in the premises, it does not just bring disgrace on Mizuno's family, so please.'
Japanese: 刃傷沙汰にもなると家名に傷がつくどころで済まないのでくれぐれもお願い申す。」とのこと。
English: However, Chobei turns down his request, saying, 'If I was afraid of your master and avoided to face him, people would say I was coward, which would bring disgrace on my reputation.'
Japanese: だが長兵衛は主膳の申し出を断り、「相手を怖がり逃げたと言われては、わしの名折れになりますから。」と言った。
English: He says, 'Our master wants to bury his longstanding grudge and hopes that hatamato-yattko and machi-yakko get along nicely.
Japanese: 庄九郎は、「主君は、これまでの遺恨を水に流し旗本奴と町奴が仲良くなりたいとの思し召しています」と述べた。
English: Now, we are having a party in our garden where we can enjoy viewing Japanese wisteria and drinking sake (alcohol), so, we would like you to join the party.'
Japanese: 続けて、「わが君が庭の藤を眺めながら酒宴をいたします。何卒拙邸にお越しくだされ。」と口上した。
English: His wife, children, following and Token, who rushes to him after knowing the incident, shout, 'Don't go there!' and persuade him out of going, but he turns a deaf ear to them.
Japanese: 長兵衛は、「行かないで」と嘆く女房やわが子、子分達、そして、急を聞いて駆け付けた唐犬らの説得にも耳を貸さなかった。
English: He determines to go there, saying, 'There has been a bitter grudge between the samurai class and ordinary people, so, we should not feel inferior to Shiratsuka-gumi, hatamoto.
Japanese: 「武家と町家に日頃から遺恨重なる旗本の、白柄組に引けをとるわけにはいかない。」
English: Then, Mizuno says, 'You should take a bath and dry your clothes' and lets his servant guide him to the bathroom.
Japanese: すると、水野は「一風呂入って服を乾かしたがよい。」と入浴を勧め湯殿の案内させる。
English: I'm prepare for death in the first place, that is why I came your house away from downtown alone, turning deaf ear to my family, mentors and following who desperately try to stop me from coming.'
Japanese: 「兄弟分や子分の者が止めるを聞かず唯一人、向かいに応じて山の手へ流れる水も遡る水野の屋敷へでてきたは、元より命は捨てる覚悟。」
English: You should not have acted in a cowardly way to lure me into this place like this.'
Japanese: 「卑怯未練に人手を借りずこなたが初手からくれろと言やあ、いいものを。」
English: I have enjoyed a great reputation as a courageous machiyatsu, so I do not want to disappoint people by sticking to my life, which results in blemishing on our family's reputation.'
Japanese: 「これまで町奴で、男を売った長兵衛が命惜しむと言われては、末代までの名折れ。」
English: I'm willing to give you my life, so, plunge your sword into my brave heart.'
Japanese: 「熨斗を付けて進ぜるから、度胸の据わったこの胸をすっぱりと突かっせえ」
English: Mizuno was impressed Chobei's brave attitude saying, 'I regret I have to kill him' and then, he puts an end to Chobei's life.
Japanese: その潔さに流石の水野も「殺すには惜しきものだなあ」と感心し、とどめを刺す。
English: Then, Kojiro MIURA, hatamoto, comes to the scene to inform them of the government order; Mizuno has to perform seppuku (ritual self-disembowelment).
Japanese: そこへ駆けつけた旗本三浦小次郎が水野切腹のお沙汰が下ったことを知らせた。
English: When an era of peace continued, the Shogun's bodyguards became corrupt and their behaivor grew worse.
Japanese: 天下太平が続いて将軍の親衛隊である旗本は堕落して素行が悪くなっていった。
English: Kyokaku' called machi-yakko shared s sense of solidarity with ordinary people and fought against hatamoto-yakko.
Japanese: 町奴と呼ばれていた侠客は町人と連帯感を持ち、旗本奴と争乱を起こしていた。
English: Especially, the scene, 'gozonji suzugamori' of "Ukiyozukahiyokunoinazuma" (inazuma soshi) written by Nanboku TSURUYA (the fourth) is the most important work.
Japanese: 特に鶴屋南北(4代目)の『浮世柄比翼稲妻』（稲妻草紙）の「御存鈴ヶ森」の場はその代表作である。
English: Kyuchan katanawo nuite' (draw your sword) starring Kyu SAKAMOTO and 'Oedo gonin otoko' (five men in Edo) starring Uemon ICHIKAWA are included in these works.
Japanese: 坂本九主演『九ちゃん刀を抜いて』、阪東妻三郎・市川右太衛門主演『大江戸五人男』などが含まれる。
English: The reason is; it became custom that the number of Chinese characters in the title should be an odd number because people followed the superstition that an odd number of Chinese characters cannot be devided.
Japanese: これは、外題には縁起を担いで「割れない」奇数の字数にすることが慣例になったいたため。
English: It was made for Danjuro ICHIKAWA (the ninth), who invented stories based on history, so, it was made with complete fidelity of a real story
Japanese: 活歴物を編み出した市川團十郎(9代目)のために作られたので史実に忠実である。
English: It set Chobei up as a person from the samurai (warrior) class, so, an actor has to act as Chobei differently from acting as an ordinary kyokaku.
Japanese: 長兵衛は武家出という設定で、演じ方にも普通の侠客として演じてはならなかった。
English: When a boss such as kyokaku in the Tenpo era or TOKEN Gonbei have to bow on tatami-matto, they curl their fingers up softly with your thumb attached to the cushion of your index finger and then, they hang down the head, putting the both fists on the knee.'
Japanese: 「天保時の侠客や唐犬権兵衛などでは、同じ親分でも親指を人差し指の腹につけ、軽く手を握った形で、膝の傍へその手をつくように挨拶します。」
English: However, when Chobei bows on tatami-mat in Mizuno's residence, he has to put the both fists on tatami mat and hang down the head.'
Japanese: 「しかし、長兵衛は水野の邸で手をついてお辞儀をする時、キチンと畳に掌をつけてお辞儀をしなければなりません。」
English: Although it is a new work in the Meiji period, the scene is still presented only in 'Kinpira Joruri' (a type of sung narrative with shamisen accompaniment) which has tremendous impact on 'Shoki Joruri' (Joruri in the early time) and 'Aragoto' (rough style of kabuki acting).
Japanese: 明治の新作ではあるが、初期浄瑠璃や荒事に多大な影響を与えた金平浄瑠璃が唯一現行歌舞伎の演目として残っている場面である。
English: In 1868, when his foster father, Gonnosuke KAWARAZAKI, was killed by robbers, he heard his father's bloodcurdling groans.
Japanese: 1868年（明治元年）に養父河原崎権之助が強盗に殺害された時、養父の瀕死の声を実際に聞いたのである。
English: In addition, he incorporated 'jujutsu' (a soft stylg of Japanese martial art) to make the play more realistic instead of 'Takemoto Joruri' in the fight scene before Chobei is killed.
Japanese: また、團十郎は殺害前の立ち回りを竹本の浄瑠璃を廃して柔術をありのままに演じる写実的な演出に変えた。
English: Some actors such as Kichiemon NAKANURA (the first), Chusha ICHIKAWA (the seventh), Koshiro MATSUMOTO (the seventh), Hakuo MATSUMOTO (the first) are good at playing Chobei.
Japanese: 中村吉右衛門(初代)、市川中車(7代目)、松本幸四郎(7代目)、松本白鸚(初代)らが長兵衛を得意とした。
English: Also, Kinnosuke YOROZUYA played the role in Kabuki-za later in life (Jinzaemon KATAOKA [the fifteenth] played Mizuno).
Japanese: また萬屋錦之介が晩年に歌舞伎座で演じている（水野は片岡仁左衛門(15代目)）。
English: Currently, brothers, Koshiro MATSUMOTO (the ninth) and Kichiemon NAKAMURA (the second), are good at playing the role.
Japanese: 現在では松本幸四郎(9代目)、中村吉右衛門(2代目)の兄弟が得意としている。
English: Kikugoro ONOE (the sixth), Sadanji ICHIKAWA (the second), Enjaku JITSUKAWA (the third), Shoroku ONOE (the second) are good at playing Mizuno.
Japanese: 水野は尾上菊五郎(6代目)、市川左團次(2代目)、實川延若(3代目)、尾上松緑(2代目)が持ち役とした。
English: In addition to lines mentioned above, the following unique rhythmical lines written by Mokuami are very famous;
Japanese: 上記の科白のほか、黙阿弥独自の調子の良いつぎのような科白が有名で、聞きどころとなっている。
English: In the opening scene, 'Although my name is 'Banzuiin Chobei, it is too early for me to become Buddha', in the secone act, 'I have a 'tenbinbo' (a stick with the same weight of two burdens hanging from the edge of the both sides to carry them) on the shoulders', and in the third act, 'The time is just around 'kinome-doki' (spring but in this season it is said that someone behaving strangely pops up).
Japanese: 序幕の「名が幡随院の長兵衛でも仏になるにゃアまだ早え」や、二幕目の「天秤棒を肩にかけ」、三幕目の「時候も丁度木の芽時」などである。
English: Nimame (boiled beans) is a type of dish that is prepared by rehydrating soybeans, azuki, or other dried beans and then boiling them with sugar until they are tender.
Japanese: 煮豆（にまめ）は、ダイズやアズキ、の乾燥豆を水でもどし、甘い味付けでやわらかく煮たものである。
English: Boiled beans vary depending on the type of beans, seasonings, etc and examples of these beans include uguisu beans, Fuki beans (boiled broad beans), Budo beans (boiled soybeans with sweet taste) and Gomoku beans (soybeans boiled with carrot, burdock, lotus root and konnyaku).
Japanese: 豆の種類や調味料などの違いで、うぐいす豆、富貴豆、ぶどう豆、五目豆など、様々な種類がある。
English: Ketto! Takadanobaba (Duel! Takadanobaba) is a Japanese kabuki play written and directed by Koki MITANI.
Japanese: 『決闘!高田馬場』（けっとうたかだのばば）は、三谷幸喜作・演出による日本の歌舞伎作品。
English: "Duel! Takadanobaba" is an original kabuki play based on 'Duel at Takadanobaba' of Yasube NAKAYAMA (later Taketsune HORIBE).
Japanese: 中山安兵衛（のちの堀部武庸）の「高田馬場の決闘」を題材にしたオリジナル歌舞伎。
English: His direction was unique, incorporating unusual sound for kabuki and comical elements characteristic of his works.
Japanese: 通常の歌舞伎にはみられない鳴り物や、三谷特有の喜劇要素も取り入れた演出となっている。
English: Somegoro, Kamejiro and Kantaro, who each played a semi-leading role, performed double roles by making a quick change.
Japanese: また、主演級の染五郎・亀治郎・勘太郎はそれぞれ早変わりで一人二役をこなした。
English: Although being skilled in swordplay and loved by his neighbors, Yasube NAKAYAMA, better known as 'Fighting Yasube,' neither serves his master nor work.
Japanese: 剣術の達人であり、近隣住民にも慕われている「喧嘩安兵衛」こと中山安兵衛ではあったが、仕官も働きもしない。
English: He is leading a degenerate life, getting drunk by the money he earned by mediating a quarrel.
Japanese: 喧嘩の仲裁によって恵んでもらった金で酒を飲んだくれるという堕落した毎日を送っていた。
English: He self-deprecatingly ignores advice from his childhood friend, Ukyo ONODERA.
Japanese: 幼馴染の小野寺右京が説教しても、安兵衛は自虐するのみで真面目に取り合わない。
English: One day, Rokurozaemon SUGANO, his uncle, falls into the snares of Murakami and Nakatsugawa and is forced to fight a duel at Takadanobaba, where he was outnumbered.
Japanese: そんなある日、村上・中津川の策略にはめられた叔父の菅野六郎左衛門が、高田馬場で多勢に無勢の決闘に追い込まれる。
English: In a turbulent social situation after the arrival of Commodore Perry, the shogunate lost its authority and caused social disorder and unrest.
Japanese: ペリー来航後の騒然とした世相下、幕府の権威は落ち治安が乱れ騒然とした雰囲気であった。
English: Around that time a storyteller named Hakuen SHORIN became popular with his stories of thieves, which won him the nickname of 'Hakuen the Thief.'
Japanese: そんな中、講釈師松林伯円演じる盗賊の講談物が人気を集め「泥棒伯円」と呼ばれていた。
English: So people called Kodanji 'Shiranami Actor' or 'Kodanji the Thief' and Mokuami 'Shiranami Playwright.'
Japanese: ゆえに人々は小團次を「白浪役者」「泥棒小團次」、黙阿弥を「白浪作者」と呼んだ。
English: Below are the Shiranami plays in which Kodanji played the leading role: 'Miyakodori nagareno shiranami' (commonly called 'Shinobuno Sota') (1854), 'Nezumikomon haruno shingata' (commonly called 'Nezumi kozo') (1857), 'Amimoyo torono kikukiri' (commonly called 'Kozaru Shichinosuke') (1857), 'Kosode soga azamino ironui' (commonly called 'Izayoi Seishin') (1859), 'Sannin Kichisa kuruwano hatsugai' (commonly called 'Sannin Kichisa) (1860), 'Fune e uchikomu hashimano shiranami' (commonly called 'Ikakematsu') (1866).
Japanese: 小團次主演では、「都鳥廓白浪」（通称忍ぶの惣太）（1854）・「鼠小紋東君新形」（通称　鼠小僧）（1857）・「網模様燈籠菊桐」（通称　小猿七之助）（1857）・「小袖曽我薊色縫」（通称　十六夜清心）（1859）・「三人吉三廓初買」（通称　三人吉三）（1860）・「船打込橋間白浪」（通称　鋳掛け松）（1866）。
English: Kikugoro ONOE (V) featured in 'Aotozoshi hanano nishikie' (commonly called 'Shiranami gonin otoko') (1862).
Japanese: 尾上菊五郎(5代目)主演の「青砥稿花紅彩画」（通称　白浪五人男）（1862）。
English: Tanosuke SAWAMURA played the role of the protagonist in 'Musumegonomi ukinano yokogushi) (commonly called 'Kirare Otomi').
Japanese: 三代目澤村田之助主演の「処女翫浮名横櫛」（通称　切られお富）などがある。
English: In the Meiji period onward, the following plays were composed and are today counted among major kabuki plays: 'Shimoyonokane jujino tsujiura' (1879), 'Kumoni magou uenono hatsuhana' (commonly called Kochiyama to Naozamurai) (1881), 'Shimachidori tsukino shiranami' (commonly called 'Shimachidori') (1881), 'Shisenryo kobanno umenoha' (1885), 'Mekuranagaya umegakagatobi' (1886).
Japanese: 明治以降も、「霜夜鐘十時辻占」（1879）・「天衣粉上野初花」（通称　河内山と直侍）（1881）・「島鵆月白浪」（通称　島ちどり）（1881）・「四千両小判梅葉」（1885）・「盲長屋梅加賀鳶」（1886）などの作品が作られ、いずれも今日の歌舞伎における重要な演目となっている。
English: The protagonists in 'Shiranami mono' are, unlike Goemon ISHIKAWA and Jiraiya who are famous bandits, ordinary men and women who have no choice but to become thieves.
Japanese: 「白浪物」に登場する主人公は、いずれも石川五右衛門や児雷也のような大盗賊ではなく、市井に住む平凡な男女がよんどころない理由で盗賊となる。
English: Having been the sport of love (ninjo) and duty (giri), they either ruin themselves or reform and surrender themselves to justice.
Japanese: 義理人情に翻弄された揚句に自滅するか改心して縛につくというものである。
English: Unlike the boldness seen in Nanboku's plays, the Shiranami-mono plays tend to lack in punch with the conventional plot of a good guy versus a bad guy.
Japanese: 南北物のようなふてぶてしさは見られず勧善懲悪という常套的な筋が多いのでドラマとして迫力に欠ける嫌いはある。
English: Yet making effective use of rhythmical dialogues in pseudo-seven-five syllable metre as well as off-stage music, Mokuami's lyrical dramaturgy strongly expresses the atmosphere of decadence at the end of the shogunate.
Japanese: しかし、七五調のリズミカルな台詞や下座音楽を効果的に用いた黙阿弥独自の叙情的な作劇術は幕末退廃期の雰囲気を濃厚に表す。
English: As Kodanji sought to achieve realistic acting, the Shiranami-mono plays is an excellent historical material to know the social situation of the late 19th century.
Japanese: また小團次がリアルな芸風を目指したこともあり当時の世相を伺う良い資料である。
English: After Harumi SHIBUKAWA replaced Senmyo Calendar by Jokyo Calendar in 1684, the bakufu established Tenmonkata under jisha-bugyo (magistrate of temples and shrines) and Harumi became Tenmonkata ('Tenmonshoku' is also used for the position title) on January 5, 1685.
Japanese: 貞享元年（1684年）に渋川春海が貞享暦を作成し、従来の宣明暦から切り替えると、幕府は寺社奉行のもとに天文方を設置し同年の12月1日(旧暦)に春海が天文方（役職名としては「天文職」とも）に就任した。
English: Tenmonkata was placed under the supervision of wakadoshiyori (a managerial position in Edo bakufu) on March 4, 1747.
Japanese: なお、天文方は延享4年1月23日(旧暦)（1747年3月4日）に若年寄支配となっている。
English: The position of Tenmonkata was basically inherited based on the hereditary system, but persons who were well-versed in astronomy were sometimes added or allowed to inherit the position by adoption.
Japanese: 天文方は世襲制であったが、時には天文学に通じた人物を追加あるいは養子縁組して世襲を許した。
English: As a result, members of eight families were appointed to the position during the end of Edo period; namely Shibukawa family, Ikai family, Nishikawa family, Yamaji family, Yoshida family, Okumura family, Takahashi family and Adachi family.
Japanese: このために幕末までに渋川家、猪飼家、西川家、山路家、吉田家、奥村家、高橋家、足立家の8家が任命されている。
English: However, some families became extinct and the descendants of Joken NISHIKAWA (his son Masayoshi NISHIKAWA was appointed to Tenmonkata by Yoshimune TOKUGAWA) and Yoshitoki TAKAHASHI didn't continue to inherit the position until the end of Edo period.
Japanese: もっとも家系が断絶した家もあり、西川如見（子の西川正休が徳川吉宗によって天文方に招聘）や高橋至時の子孫も幕末までは継承されなかった。
English: Bansho-wage Goyo (government office for the translation of western books) was established in 1811 according to the proposal of Kageyasu TAKAHASHI, and it continued to exist until Bansho Shirabesho (government office for the study of western books) was established in 1858.
Japanese: 文化(日本)8年（1811年）に高橋景保の提案によって蛮書和解御用が設置され、安政3年（1858年）の蕃書調所設置まで続いている。
English: Harumi SHIBUKAWA - Hisatada SHIBUKAWA - Hirotada SHIBUKAWA - Hironari SHIBUKAWA - Noriyoshi SHIBUKAWA - Mitsuhiro SHIBUKAWA - Masakiyo SHIBUKAWA - Masateru SHIBUKAWA - Kagesuke SHIBUKAWA - (Takanao SHIBUKAWA) - Sukekata SHIBUKAWA - Yoshinori SHIBUKAWA
Japanese: 渋川春海－渋川昔尹－渋川敬尹－渋川敬也－渋川則休－渋川光洪－渋川正清－渋川正陽－渋川景佑－（渋川敬直）－渋川佑賢－渋川敬典
English: Masakazu (Toyojiro) IKAI, okachi (a lower class samurai), became the assistant of Hirotada SHIBUKAWA in 1716 and he was appointed to Tenmonkata in 1736.
Japanese: 御徒であった猪飼正一（豊次郎）が享保元年（1716年）渋川敬尹の暦作御用手伝となり、元文元年（1736年）天文方になる。
English: Masayoshi NISHIKAWA, a son of Joken NISHIKAWA, an astronomer in Nagasaki, was appointed to Tenmonkata in 1746, and his descendants inherited the position for two generations.
Japanese: 長崎の天文家である西川如見の息子である西川正休が延享3年（1746年）天文方となり二代続く。
English: Nushizumi YAMAJI became the assistant of Noriyoshi SHIBUKAWA and Masayoshi NISHIKAWA at the time of Horyaku calendar revision (Horyaku Calendar), and he was appointed to Tenmonkata in 1764.
Japanese: 山路主住が宝暦の改暦（宝暦暦）の際に渋川則休と西川正休の補暦御用手伝となり、明和元年（1764年）に天文方に任命されたのに始まる。
English: Although the second Yukiyoshi YAMAJI was not appointed to Tenmomkata, the third Tokufu YAMAJI and his descendants inherited the position until the end of Edo period.
Japanese: 二代目の山路之徽は天文方に任命されなかったが、三代目山路徳風以後、幕末まで天文方を継承した。
English: Nushizumi YAMAJI - (Yukiyoshi YAMAJI) - Tokufu YAMAJI - Yukitaka YAMAJI - Akitsune YAMAJI - (Akiyoshi YAMAJI) - (Aizan YAMAJI)
Japanese: 山路主住－（山路之徽）－山路徳風－山路諧孝－山路彰常－（山路彰善）－（山路愛山）
English: Nagahide SASAKI (later Hidenaga YOSHIDA) became the assistant of Tadataka NISHIKAWA, a son of Masayoshi NISHIKAWA, at the time of Horyaku calendar revision (Horyaku Calendar).
Japanese: 佐々木長秀（後に吉田秀長）が宝暦の改暦（宝暦暦）の際に西川正休の息子西川忠喬の作暦手伝となる。
English: Kunitoshi OKUMURA became the assistant for making a new calendar in 1765 and was appointed to Tenmonkata in 1787.
Japanese: 奥村邦俊が明和2年（1765年）に新暦調手伝となり、天明7年（1787年）天文方に任じられた。
English: Takahashi family extinguished when Kageyasu TAKAHASHI, the oldest son of Yoshitoki, died in prison because of his involvement in Siebold Incident.
Japanese: 至時の長男である高橋景保がシーボルト事件に関与して獄死したため高橋家は二代で終わる。
English: Nobuakira ADACHI became the assistant of Yoshitoki TAKAHASHI at the time of Kansei calendar revision (Kansei Calendar) and was appointed to Tenmonkata in 1835.
Japanese: 足立信頭が寛政の改暦（寛政暦）のために高橋至時の助手となり、天保6年（1835年）天文方に任じられた。
English: Shitendai (astronomical observatory) was established at Ushigome Wara-cho in 1685, a year after Harumi SHIBUKAWA was appointed to Tenmonkata.
Japanese: 渋川春海が天文方に任じられた翌貞享2年（1685年）に牛込藁町の地に司天台を設置した。
English: It was moved to Honjo (Sumida Ward) in 1689, and to Kanda Surugadai in 1701.
Japanese: 元禄2年（1689年）に本所(墨田区)、同14年（1701年）に神田駿河台に移転する。
English: After the death of Harumi, it was moved to Kanda Sakuma-cho in 1746, to Ushigome Fukuro-cho in 1765 and to Asakusa Tenmondai (Asakusa Astronomical Observatory, also known as Hanrekisho) in 1782.
Japanese: 春海の没後、延享3年（1746年）に神田佐久間町、明和2年（1765年）に牛込袋町に移り、天明2年（1782年）に浅草の浅草天文台（頒暦所とも）に移った。
English: Yoshitoki TAKAHASHI and Shigetomi HAZAMA were engaged in Kansei calendar revision at Ushigome Fukuro-cho/Asakusa, and Tadataka INO studied astronomy and surveying from Yoshitoki TAKAHASHI at Asakusa Temnondai.
Japanese: 高橋至時や間重富が寛政の改暦に従事したのは牛込袋町・浅草時代であり、伊能忠敬が高橋至時の元で天文学・測量学を学んだのも浅草天文台であった。
English: In 1842, another tenmondai was established at Kudanzaka thanks to the efforts of Kagesuke SHIBUKAWA, etc.
Japanese: その後、天保13年（1842年）に渋川景佑らの尽力で九段坂にもう1つの天文台が設置されて天体観測に従事した。
English: When Tenmonkata was abolished in 1869, tenmondai at Asakusa and Kudan were also abolished.
Japanese: 明治2年（1869年）に天文方とともに浅草・九段の両天文台が廃止される事になる。
English: After Taisei Hokan (restoration of Imperial rule) and the Battle of Toba and Fushimi, Haruo TSUCHIMIKADO asked the Imperial Court and took back the right of calendrical calculations and calendar distribution to the Tsuchimikado family.
Japanese: 大政奉還、鳥羽伏見の戦い後、土御門晴雄は朝廷に願い出て､歴算、頌歴の権限を土御門家に取り戻した。
English: Tenmonkata was abolished and Haruo became the responsible person, in place of Yoshinori SHIBUKAWA and Akitsune YAMAJI who were then Tenmonkata, as Onmyo no kami (director of the bureau of divination).
Japanese: 天文方は廃止されて、同職にあった渋川敬典・山路彰常に代わって、晴雄が陰陽頭として責任者の地位に就いた。
English: The Tsuchimikado family made a calendar of 1869, but Haruo died in 1869 and Kazumaru, who was then 11 years old, succeeded as the head of Tsuchimikado family.
Japanese: 土御門家は明治二年の作歴を行うが、明治2年に晴雄が没し、土御門家を11歳の和丸が継ぐ事となった。