nntsuzu/KFTT huggingface dataset:
English: Today, patterns have become diversified and there are patterns including plain, Komon (fine pattern), dyed thread-woven stripes, and checkered, and the increased number of patterns which are established as designs.
Japanese: 現在では文様も多様になり、無地、小紋、染め糸を用いた織による縞や格子文様を始め、意匠化された文様も増えている。
English: At one time, Shu-iro (Empire red) was considered auspicious and best suited for congratulations, purple was considered showing respect to the other side, indigo was considered to be used for mourning, Rikyu (sophisticated wasabi-color (slightly dull yellowish green)) was usable for both congratulations and condolences, Enji-iro (crimson) was considered traditional Japanese and so on were mainstream, but today, they are also diversified.
Japanese: かつては、喜事を表し祝いに最適とされる朱色、先方への敬意を表すとされる紫色、弔事に用いるとされる藍色、慶弔両方に用いることができる利休（品のある山葵色）の他、日本の伝統色とされる臙脂色、などが主流であったが、これも現在では多様化している。
English: Depending on the weaving methods, there are such flavors as Chirimen (silk crepe) with typically pleasant texture, commonly-used Tsumugi (pongee) with family crest and so on and Ro (silk gauze) which is also used for Kimono (Japanese traditional clothing) for summer.
Japanese: また加工方法によって、独特の心地よい肌触りを持ったちりめん、家紋などを入れた一般的な紬（つむぎ）、夏用の着物と同じ絽（ろ）などの風合いがある。
English: In addition to the above, many of synthetic fibers such as rayon, polyester and acetate are used today.
Japanese: 現代ではこれらに加えてレーヨン、ポリエステル、アセテートなどの化学繊維も多く用いられている。
English: As for the size of Furoshiki, their lengths were found to be different from each other, which means their shapes were not a regular square, because from old times Furoshiki was made by cutting one Tan (width of approx. 35cm～40cm and length of approx. 12m) of textile into pieces without incurring waste and sewing them.
Japanese: 風呂敷の大きさは、古くから織物の一反（幅約35cm～40cm、長さ約12m）を利用して無駄無く裁断し縫製するため、若干の長短があって正方形ではなかった。
English: The basic size is called Hitohaba (cloth width) which has a width of nine Sun (approx. 34cm) of Kujirajaku (a measuring stick used in kimono-making) with the shorter length at approx. 34cm and the longer length at 37cm.
Japanese: 短辺約34cm、長辺約37cm鯨尺九寸のものを一幅と呼び基本とする大きさである。
English: Furoshiki made by cutting 1 Tan equally into five pieces and sewing them was called an Ittanburoshiki (Muhaba), the largest one of which was equal to approximately two Tatami mats in size.
Japanese: 一反を五等分して縫製したものを一反風呂敷（六幅）と言い、概ね畳二枚分の大きさが最大であった。
English: Presently, there are Futahaba (double width) with the approximate size of 68cm and 71cm which is double the width (4 times in area) of Hitohaba, and sizes called Yohaba which is double the width of Futahaba and Muhaba which are approx. 204cm and 207cm, and in addition, squares with sides approx. 45cm are called Chuhaba (medium width) and squares with sides approx. 90cm are called Nishihaba.
Japanese: 現在では、一幅の倍（面積では四倍）となる約68cm×約71cmの二幅、そのさらに倍の四幅、六幅と呼ばれるそれぞれ約204cm×207cmの整数倍のもののほか、中幅と呼ばれる約45cm四方のもの、二四幅と呼ばれる約90cm四方のものがある。
English: Futahaba and Chuhaba were used at congratulations and condolences such as wedding presents and Chugen (Bon gifts), Nishihaba for shopping and Yohaba for moving and homecoming visits.
Japanese: 二幅や中幅は、結婚祝いやお中元などの慶弔の際に、二四幅は買い物に、四幅は引越し・帰省に使われていた。
English: It is said that people in Edo where fires frequently occurred made it a practice to keep a Muhaba-size Furoshiki spread out under their bedding to prepare for throwing their furniture and household goods onto the bedding, wrapping up anything and everything as they were in the Furoshiki and escaping the fire when it occurred.
Japanese: 六幅は、火災が多かった江戸において、寝具の下に敷き、火事などの災害発生時に寝具の上に家財道具を放り投げ、一切合財をそのまま風呂敷に包んで逃げるために使われていたという。
English: Today, Futahaba, Chuhaba and Nishihaba are mainstream, and Yohaba is used as a coverlet for Kotatsu and Muhaba as a table cover, mural decoration and so on.
Japanese: 現代では、二幅・中幅・二四幅が主流で、四幅はコタツ掛けに、六幅はテーブル掛けや壁飾りなどにも使われている。
English: When one is giving a gift, it is considered impolite to give it directly by hand and it is instead considered polite to take it being wrapped in Furoshiki.
Japanese: 贈答品を渡す際は、直接手で持って渡すことは失礼にあたるとされ、風呂敷に包んで持参するのが礼儀とされている。
English: Further, while some believe that giving a gift wrapped in Furoshiki conforms to the rules of etiquette, some insist on refraining from doing so because it would suggest 'asking for its return wrapped in this Furoshiki.'
Japanese: その際、包んだまま渡すことを作法とする説と、包んだまま渡すと「この風呂敷にお返しを包んで戻せ」という催促の意となるため、厳に慎むべしとする説がある。
English: In most cases today, one unwraps a gift off Furoshiki before giving it leaving the gift alone and taking back Furoshiki, which means conformity to the latter rule, but some propose, in these days, to give a gift being kept wrapped in Furoshiki, where Furoshiki itself be considered as a new type of gift wrapping material.
Japanese: 現在でもほとんどの場合、手渡す際に風呂敷を解き、贈答品のみを置いて風呂敷を持ち帰るのは、後者の作法に準じているためであるが、風呂敷での包み自体を新しい感覚のギフト包装と捉えて、そのまま贈ろうという提案も近年なされている。
English: While Oburoshiki refers to a large-sized Furoshiki (cloth wrapper), the sentence, 'to spread out Oburoshiki' is to make fun of or criticize impossibly exaggerated plans or stories, making impossible plans or making a bold pronouncement.
Japanese: 大風呂敷（おおぶろしき）とは、寸法の大きな風呂敷を言うが、一方出来そうにもない大袈裟な計画や話や実現不可能な計画を立てる、大言壮語する事を揶揄や批判し、「大風呂敷を広げる」という。
English: On the contrary, the situations where things, plans or stories move towards resolution, or its preparatory stages are sometimes referred to as 'to fold up Furoshiki.'
Japanese: 逆に物事や計画、物語などが収束に向かうこと、あるいはその準備段階にあたる状況を「風呂敷を畳む」と呼称することがある。
English: Shinpei GOTO was a very capable person, the plans of whom were nicknamed as 'Oburoshiki' due to their huge scale.
Japanese: 後藤新平は非常に有能な人物であり、その計画の大規模さから「大風呂敷」とあだ名されていた。
English: Furoshiki' has been reassessed recently due allegedly to its flexibility and unrestrictedness indicated by the facts that, as compared with bags and so on introduced from abroad, it can be used to wrap up things freely without being restricted by sizes and shapes of things to be wrapped, it can be folded up to reduce its size and it is lightweight, and due to its possible contribution to environmental protection.
Japanese: 西洋渡来の鞄などに比べ、包むものの大小・形状に囚われることなく変幻自在に包むことができること、包むものが無い時には畳んでかなり小さくすることができて軽量であることなど、その融通性・自在性が、環境問題への貢献とともに、「風呂敷」が近年見直されている点であると考えられる。
English: However, as one typical aspect of Japanese culture, the level of knowledge and technique of users of Furoshiki is directly related to the utilization level due to its high simplicity as a device.
Japanese: ただし、日本文化に特有の事象であるが、道具として極めてシンプルであるため、使う者の知恵・技術水準が実用レベルと直結する。
English: In order to make 'Furoshiki' really practical instead of leaving it finished as a fad, it is necessary to learn techniques to wrap up things as desired.
Japanese: 「風呂敷」を一時期のファッションとして終わらせるのではなく、真に実用的たらしめるためには、自在に包むことができる技を身につけることが必要である。
English: The basic technique to wrap up things freely in Furoshiki is 'Musubi' (knot).
Japanese: 「風呂敷」を使って自在にものを包むための基本となる技は「結び」である。
English: These basic Musubi are 'Simple knot' and 'Tight knot (reef knot/Kanamusubi).'
Japanese: この基本となる結びは「一つ結び」と「固結び（真結び・かなむすび）」である。
English: In this case, one should be careful not to tie a granny knot by mistake, which is easy to untie and is dangerous.
Japanese: その際、誤って縦結びとすると、簡単にほどけて危険であるため注意を要する。
English: One survey has indicated that most of the Japanese at the age of 40 or younger today end up with granny knots.
Japanese: ある調査によると、現代日本人の40歳以下は、ほとんど縦結びにしてしまうという。
English: On the assumption that the weight of one supermarket checkout bag is approx. 8 to 10 grams, then a sake cup (approx. 16 to 18 milliliter) of crude oil is considered to be consumed in the manufacturing process.
Japanese: レジ袋1枚を約8～10gとすると、製造過程で小さな猪口1杯分（約16～18ml）の原油を使うとされている。
English: Since 30 grams and 31 grams of carbon dioxide are emitted in the processes of manufacturing and incineration respectively, approx. 61 grams of carbon dioxide emission can be curbed by not using one supermarket checkout bag.
Japanese: また、製造過程で30g、焼却過程で31gの二酸化炭素を排出するため、1枚のレジ袋を使用しないと約61gの二酸化炭素の排出抑制ができる。
English: According to the Ministry of the Environment, annual usage of supermarket checkout bags in Japan today is 30 billion pieces which can be converted into approx. 600 thousand kiloliters of crude oil and the disposed quantity runs up to approx. 600 thousand tons.
Japanese: 環境省によると、現在日本で年間に使われるレジ袋は約300億枚で、原油換算すると約60万キロリットルに達し、ごみとして出される量は約60万トンにもなるという。
English: One can personally contribute on a daily basis to the reduction of carbon dioxide and waste disposal and eventually to the prevention of global warming by converting the use of supermarket checkout bags into the use of his or her own Furoshiki in shopping.
Japanese: このため、買物に際してレジ袋の利用を止めて風呂敷へと転換するごとに二酸化炭素とごみの削減効果に個人レベルで日常的に貢献でき、ひいては地球温暖化防止に貢献することにつながるといえる。
English: "Kezuriko" are gleanings of powder which is left over after dried fishes (such as a dried bonito, dried blue mackerel, and dried sardines) are chipped off to produce "kezuribushi" (shaved pieces).
Japanese: 削り粉（けずりこ）とは、カツオ・サバ・イワシなどの節類を削って削り節を作る時に出てくる細かい粉末を集めたものである。
English: Basically, kezuriko consists of several kinds of dried fish powder, but occasionally, it comes from a single dried fish.
Japanese: 基本的には数種の節類の粉末を混ぜたものであるが、中には一種類の節で作られたものもある。
English: Kezuriko is mainly used as a topping, sprinkled over "okonomiyaki" (a savory pancake with various ingredients) or "yakisoba" (fried noodles) instead of "katsuobushi" (shaved pieces of a dried bonito).
Japanese: 主な使われ方としては、鰹節の替わりとしてお好み焼きや焼きそばなどの上に振りかける方法がある。
English: Around Shizuoka City, there exists an odd use of kezuriko and dried green seaweed, that is, sprinkling them on "oden" (a Japanese dish containing all kinds of ingredients cooked in a special broth of soy, sugar, sake and so on).
Japanese: 変わった使用法として、静岡市周辺では削り粉とアオノリをおでんに振りかけて食べる習慣がある。
English: "Shishimai" (Japanese lion dance) is one of the traditional Japanese performing arts, in which performers mimic a lion's movements in a lion costume to festival music.
Japanese: 獅子舞（ししまい）とは、伝統芸能の一つで、祭囃子にあわせて獅子が舞い踊るものである。
English: This section also describes the Chinese version, which is simply called the lion dance.
Japanese: また本項では、中国の獅子舞、いわゆるライオンダンスについてもあわせて解説する。
English: It is roughly divided into two types, "Gigaku" school and "Furyu" school.
Japanese: 大きく分けて、伎楽（ぎがく）系の獅子舞と風流（ふりゅう）系の獅子舞がある。
English: The headgear of the lion costume, called "shishi-gashira," is mostly made from wood, but there also exists headgear which is made by sticking traditional Japanese paper together, and recently, headgear made from styrene foam is seen, too.
Japanese: 獅子の頭部（獅子頭：ししがしらと呼ばれる）は木製が多いが、和紙による張子のものや最近では発泡スチロールによるものもある。
English: A large variety of dance schools exist, including the well-known Furyu school and "Kagura" school ("Kagura" means the sacred music and dancing performed at shrines), and every school can be said to be unique.
Japanese: 舞方は諸流派があり風流系（ふりゅうけい）、神楽系（かぐらけい）などが知られるが、他にも多くの舞があり同じ物は二つとないとも言える。
English: The Gigaku school (also called Kagura school) is seen nationwide (in particular, in western Japan), and it is categorized into three types, big lion, middle-sized lion, and small lion, according to the number of people who get into the body part of the lion costume.
Japanese: 伎楽系（神楽系）の獅子舞は西日本を中心として全国的に分布し、胴体部分に入る人数で大獅子、中獅子、小獅子と区分される。
English: Mostly, "shishimai" performances, including those shown at New Year's or in "kagura," are this school's.
Japanese: 正月に見る獅子舞や神楽での獅子舞をはじめ、一般に獅子舞というとこの系統の獅子舞を指すことが多い。
English: This school's shishimai is deemed to have originated from China, so it seems to have the same origin as today's Chinese lion dance.
Japanese: 起源は中国大陸から伝来したものと考えられ、現在の中国獅子舞とも繋がるものと考えられる。
English: In the Furyu school, one person performs one lion, and each person does the dance beating the drum tied to its belly.
Japanese: 1人が1匹を担当し、それぞれが腹にくくりつけられた太鼓を打ちながら舞う。
English: In some parts of the Tohoku region, "shishiodori" (the deer dance) is performed in groups of seven to eight people, and the most common is the three lion dance performed in groups of three people.
Japanese: 東北の一部には7～8頭で1組の鹿踊もあるが、もっとも多いのは3匹1組の三匹獅子舞である。
English: This is the general local performing art and folk entertainment at farming and mountain villages in the area that was once called Musashi Province, which overlaps with today's Tokyo Metropolis and Saitama Prefecture.
Japanese: これは、東京都・埼玉県などのかつて武蔵国と呼ばれた地域の農山村では一般的な郷土芸能・民俗芸能となっている。
English: One of the three lions is a female (in Japanese, "mejishi"), and many local communities have a dance program called "Mejishi Kakushi" where two male lions fight with each other for a female lion.
Japanese: 3匹のうちの1匹は女獅子（雌獅子）と呼ばれ、雄獅子が雌獅子を奪い合う女獅子隠しという演目を持つところが多い。
English: The Furyu school of shishimai is said to have originated from Drum Dance or Imperial Court Guards' Dance, both seen in western Japan, and a predominant theory says Furyu school of shishimai might have began when some star performers changed their headgears into "shishigashira."
Japanese: 起源は西日本の太鼓踊りあるいは陣役踊りといわれ、中心にいる数人が頭上のかぶり物を獅子頭に変えたものが始まりだろうという説が優勢である。
English: But another long-lasting theory says that Furyu school of shishimai in eastern Japan originated from ancient Japanese dance, and that the headgear was originally modeled on that of a deer or wild boar.
Japanese: だが、東国の風流系の獅子舞はもっと古くからある日本古来の獅子舞であり、獅子頭（ししがしら）も本来はシカやイノシシを模したものであったという説も根強い。
English: Shishigashira is usually made from wood (paulownia), and besides shishigashira, there also exists the headgear of a dragon and deer.
Japanese: 獅子頭は通常木製（桐製）であり、獅子以外に竜頭のものや鹿頭のものもある。
English: And when we simply say "lion dance," it mostly means the Chinese lion dance.
Japanese: また、英語でliondanceという場合、その多くはこうした中国式のものを指している。
English: "The creature movement mimicker is like the person who was just performing the fish dance, the prawn dance, and the lion dance," says Meng Kang's commentary on the book of ritual and music in the series of Historical Records of the Han Dynasty.
Japanese: 『漢書』禮樂志の孟康注に「象人若今戯魚蝦師子者也」（象人は、今の魚、蝦、獅子を戯するがごとき者なり）と記述される。
English: Established in the age of the Qing dynasty, the present performance styles of the Chinese lion dance are categorized into two, Northern style and Southern style, - the latter has been handed down in the communities of the practitioners of Chinese martial arts, and it is performed with their physical techniques - and there are dance competitions.
Japanese: 現在演じられる形は清の時代に確立された形で、北方の北獅と南方の南獅の系統（中国武術家で伝承されその身体技法による）があり、競技もある。
English: A performance group consists of the musical band members and two other people, that is, a person in charge of the lion shishigashira and forefeet, and another in charge of the back legs and back.
Japanese: 獅子頭と前足に1人、後ろ足と背中に1人の2人と楽団で構成されている。
English: Also in Japan, there exist Chinese lion dance groups at Chinatowns and at the municipalities and other institutions that have close ties with China or Taiwan, and their performances are seen whenever an event is held.
Japanese: 中国式の獅子舞は日本においては中華街や中国・台湾と関係の深い自治体・施設に獅子舞団がありイベントごとに演じられる。
English: In "The Young Master," a movie that featured Jackie Chan, the Southern style lion dance was seen.
Japanese: ジャッキー・チェンの映画ヤングマスター師弟出馬では南方のものが描写されている。
English: The competition of running up the long staircase of the JR Kyoto Station building is an event that has been held there by the Kyoto Broadcasting System Company Limited (KBS) on the third Saturday every February since 1998.
Japanese: JR京都駅ビル大階段駆け上がり大会（じぇいあーるきょうとえきビルだいかいだんかけあがりたいかい）は、京都駅の駅ビル階段で1998年から毎年2月の第3土曜日に開催される京都放送主催のイベント。
English: The competitors run up the staircase, which has 171 steps, is 35 meters in height (equivalent to an 11 story building), and a total length of 70 meters.
Japanese: 選手達は段数・171段／総高低差・35メートル（11階建てビルに相当）／全長・70メートルのコースに挑む。
English: The running pace - for example, going literally step by step, taking every third step, or putting the foot on every fourth step - is left to the discretion of runners themselves.
Japanese: 階段は1段ずつでも良いし、2段飛ばしや3段飛ばし等とペースは選手自身に任せられる。
English: At present, when some part of the runner's body crosses the finish line, he or she is considered to have reached the goal, but in the future, a runner will be certified only when his or her whole body crosses over the line.
Japanese: 上のゴールは体の何処かがラインを越えた時点で認められるが将来的には体全体が入らないと認められない。
English: In case the best time is recorded by multiple competitors, they have a run-off.
Japanese: 若しも万が一、優勝タイムが同一タイムだった時（複数いた場合）には優勝決定プレーオフを行なう。
English: "Kinen-sai festival" (also called "Toshigoi no matsuri") is an annual Shinto ritual in February praying for the good fortune of the year, including the rich harvest.
Japanese: 祈年祭（きねんさい、としごいのまつり）は、毎年2月に行われ、一年の五穀豊穣などを祈る神道の祭祀である。
English: After the conversion, the ritual has been held mostly on February 17, but the day was not standardized in particular, so some shrines in northern Japan have held it in March or April, so it has also served as the spring festival.
Japanese: 改暦後は2月17日に行われるようになったが、特に統一されているわけではなく、北国には3月・4月の春祭りと併せて行う神社もある。
English: Originally, Kinen-sai festival was one of the annual rituals held by the Japanese nation under "ritsuryo" (legal codes in the Nara and Heian periods based on Chinese models), and a record says it was held as early as in the later seventh century, the reign of Emperor Tenmu.
Japanese: 元々は律令国家の恒例祭祀の一つであり、7世紀後半の天武天皇の時代にはすでに行われていた記録がある。
English: Combined with the Chinese ceremony to pray for the good crop, the ancient Japanese ritual of agriculture in spring is deemed to have been renewed as the ritual of the nation under ritsuryo.
Japanese: 日本古来の春の農耕儀礼に中国の大祀祈殻の要素を取り入れて、律令国家祭祀として成立したものと考えられている。
English: But in the Heian period, the ritual turned into a mere façade, and became to be held just within "Jingikan" (the court department of worship).
Japanese: 平安時代に入ると祭儀が形骸化し、神祇官の内部でのみ行われる祭祀となった。
English: In the middle of the Heian period, people began to recognize that the ritual was mainly for deifying "Amaterasu Omikami" (the Sun Goddess), and in the cloistered emperor's reign, the recognition became more common, and Kinen-sai festival began to be conducted solemnly by the emperor to deify Amaterasu Omikami.
Japanese: 平安時代中頃になると、天照大神を主に祀る祭祀であると認識が変化しはじめ、院政期にはその傾向がさらに強くなり、祈年祭は天照大御神を奉祀する天皇の祭祀として厳修されるようになった。
English: In the early 13th century (the early Kamakura period), Emperor Juntoku wrote in "Kinpisho" (the book which recorded the history and origin of Imperial Court ceremonies, and which set forth the rules and etiquette for carrying out such ceremonies) that Kinen-sai festival was the ritual related to Ise-jingu Shrine.
Japanese: 13世紀初め、鎌倉時代初頭の順徳天皇の『禁秘抄』では、祈年祭は伊勢神宮関係の祭祀であると明記されている。
English: During the later Muromachi period (the times of war), Kinen-sai festival in Imperial Court came to a halt just like other rituals, and instead, it began to be held by the Shirakawa-hakuo family, which hereditarily inherited "Jingi haku" (a chief official in charge of matters relating to Shintoism).
Japanese: 室町時代後半の戦乱期には、他の祭祀と同様に宮中での祈年祭も廃絶し、神祇官の伯を世襲してきた白川伯王家が行うようになった。
English: During the Genroku era of the Edo period, Kinen-sai festival in Imperial Court was planned to be revived but failed, so the revival came true only after Jingikan was reestablished in Court in the Meiji period.
Japanese: 江戸時代に入り、元禄年間に宮中での祈年祭の復興が企画されたが為らず、明治時代の神祇官復興に至ってようやく再開された。
English: Thereafter, Kinen-sai festival became an important national ritual once again, and from 1869, it was held as a grand festival by the Imperial Court and high ranking shrines nationwide which were authorized by the state.
Japanese: 祈年祭は再び重要な国家祭祀と位置づけられ、明治2年（1869年）からは、宮中および全国の官国幣社で「大祭」として祈年祭が行われるようになった。
English: When Japanese State Shinto was dismantled after World War Ⅱ, Kinen-sai festival shed its aspect of a national ritual, and now, it is held as a private ritual of Imperial Family in Court, and is held as one of common rituals in shrines nationwide.
Japanese: 第二次世界大戦後に日本の国家神道が解体されると、祈年祭から国家的祭祀としての性格は消え、宮中では天皇家の私的な祭祀として、他の神社でも通常の祭祀の一つとして斎行している。
English: Ihai is a wooden tablet inscribed with the posthumous Buddhist name of a deceased person to enshrine the spirit of the person.
Japanese: 位牌（いはい）とは、死者の祭祀のため、死者の戒名などを記した木の板をいう。
English: The tablet was named ihai (literally, 'rank' tablet) because it was considered to be the same as shinshu (a tablet inscribed with the official rank and name of a deceased person) used for Confucian funeral rites from the Later Han period in China.
Japanese: 中国の後漢時代から儒教の葬礼に用いられる神主（しんしゅ。死者の官位・姓名を書く霊牌。）と同視されたため、「位」牌と呼ばれる。
English: The origin of ihai is said to have come from the syncretization of the folkways of yorishiro (an idea in which a divine spirit resides in an object) and the sotoba (a tall, tower-shaped wooden tablet set up behind a grave for the repose of the dead) in Buddhism.
Japanese: またその起源は、霊の依代（よりしろ）という古来の習俗と仏教の卒塔婆が習合した物ともされる。
English: Ihai is generally categorized into three types: uchi-ihai (shiraki-ihai, or literally, plain wood ihai), hon-ihai (nuri-ihai, or lacquered ihai), and tera-ihai (literally, temple ihai).
Japanese: 位牌には大別して、内位牌（白木位牌）・本位牌（塗位牌）・寺位牌がある。
English: Uchi-ihai is a simple ihai made of plain wood which is inscribed with the posthumous Buddhist name, the secular name (name before death), the date of death, and the age at death (or to which paper inscribed with these is attached).
Japanese: 死者の戒名・俗名（生前の姓名）・死亡年月日・享年（行年）が書かれた（あるいはこれらが書かれた紙を貼った）白木の簡素な位牌。
English: When a deceased person is buried, no-ihai will be placed over the ground until the memorial service on the forty-ninth day after the death or the decay of no-ihai itself.
Japanese: 土葬の場合は、中陰の法要あるいは朽ち果てるまで埋葬した上に据え置かれる。
English: When a deceased person is cremated, no-ihai will be taken home and enshrined on a chuin-dan (a temporary home altar to enshrine the ashes until the memorial service on the forty-ninth day after the death and the interment ceremony).
Japanese: 火葬の場合は、葬儀後家に持ち帰り、中陰壇（四十九日の法要および納骨式まで遺骨を祀る臨時の屋内祭壇。）に祀られる。
English: No-ihai is burnt after the chuin-dan is cleared (i.e., after uchi-ihai is created and the spirit of a deceased person is transmitted from noi-hai to hon-ihai).
Japanese: 野位牌は、中陰壇を解いた後、焚き上げられる〔内位牌の作成後、野位牌から本位牌に御霊を移動して頂いた後〕。
English: Fuda-ihai is an ihai inscribed (or engraved) with the posthumous Buddhist name(s) of one person or more such as husband and wife on the surface (the name of the person on ihai is inscribed in vermilion when he/she is still alive).
Japanese: 札位牌は、一人あるいは夫婦など二人以上の戒名等が表面に書かれた（彫られた）位牌である（書かれた人が存命中は、朱色の字にしておく。
English: Kuridashi-ihai is an ihai enclosing numerous wooden plates in a row, each of which is inscribed with the posthumous Buddhist name of a deceased person.
Japanese: 繰り出し位牌は、多数の木の札が重ねて納められた位牌で、木の札一枚一枚に一人の戒名等を記す。
English: Ihai is categorized into two types: 'gyakushu-hai' and 'junshu-hai.'
Japanese: 位牌には「逆修牌（ぎゃくしゅうはい）」と｢順修牌（じゅんしゅうはい）がある。
English: Because the deceased are believed to have been already born in the Pure Land thanks to Amida Nyorai's primal vow (forty-eight vows) in Jodo Shinshu, the sect does not have the notion of eko (prayers for the repose of the soul) towards the deceased nor consider them to be objects of prayer.
Japanese: 浄土真宗では、阿弥陀如来の本願（四十八願）により死者はすでに浄土に往生しているとされるので、「死者に対する回向」という概念がなく、礼拝の対象にもしない。
English: Ihai are created in some areas as a common practice; even in these cases, however, ihai, being used only for the record of a deceased person, do not have a special meaning such as an object where the souls of the dead reside as can be seen in other sects.
Japanese: 地域の慣習として作製する事もあるが、その場合は、故人の記録としての意味で、霊魂が宿る等の他宗のような特別な意味はない。
English: To measure the size of an ihai, only the fudatake (height of the flat tablet part where characters are inscribed) is measured and its size is represented in 'go'; for example, four go of ihai has approximately twelve centimeters of the fudatake.
Japanese: 寸法は札丈（札板文字を入れる板の部分の高さ）を測り、「号」で表される（例：4.0号＝札丈が約12cm）。
English: Ihai are mainly produced in Aizu-wakamatsu (Aizu-ihai), Kyoto (Kyo-ihai), Nagoya (Nagoya-ihai), and Wakayama (Koya-ihai).
Japanese: 会津若松（会津位牌）、京仏具（京位牌）、名古屋（名古屋位牌）、和歌山（高野位牌）が主な産地である。
English: Koku of koikoku comes from kokusho, a kind of soup with miso, and koikoku used to be one variation of kokusho.
Japanese: 鯉こくのこくとは、濃醤（こくしょう）という味噌を用いた汁物のことであり、鯉こくはこの濃醤の一種だった。
English: It is said not only carps but eels, crucian carps, soft-shelled turtles, salamanders, and various wild fowls used to be used to make kokusho.
Japanese: 鯉ばかりでなくウナギ、フナ、スッポン、サンショウウオ、各種野鳥などでも作られていたとされる。
English: Kokusho almost disappeared after the Edo period, and only koikoku, a variety of kokusho with carp, remains up until today.
Japanese: 江戸時代以降は濃醤はほぼ廃れてしまい、鯉を材料とした鯉こくのみが生き永らえて現在に至っている。
English: As described in Shotaro IKENAMI's "Onihei Hankacho," it seems to have been a favorite dish of Edo people.
Japanese: 池波正太郎の「鬼平犯科帳｣シリーズにも登場するように、江戸の人間の好物でもあったらしい。