nntsuzu/KFTT huggingface dataset:
English: At that time, the hunting that horsemen did Kisha (to shoot an arrow with riding a horse) at animals was called 'oumonoi,' and there were also other games such as 'Ushioumono' (cows-hunting event, a skill of an archery) but only 'Inuoumono' had been preserved.
Japanese: 当時は獣類をウマで追い騎射をする競技を総称して「追物射」（おうものい）と言い、牛を追う「牛追物」などもあったが、犬を追う「犬追物」だけが残った。
English: Legend has it that Inuoumono was the reason of the down fall of the Kamakura bakufu (Japanese feudal government headed by a shogun) because the last head of the Tokuso Family of the Hojo clan (Soke, [head of family, originator]), Takatoki HOJO, devoted himself in dogfights and Inuoumono then neglected the politics.
Japanese: 北条氏得宗家（宗家）最後の当主北条高時が闘犬や犬追物にはまって政治を省みなくなり、鎌倉幕府滅亡の原因となったとする伝説がある。
English: In the Sengoku Period (Period of Warring States) (Japan), dominant Shugo daimyo (Japanese territorial lord as provincial constable) and Shugodai (the acting Military Governor) who were preserving Inuoumono manners perished one after another, and those who could maintain the manner even to the Edo period were only the Shimazu clan and the Ogasawara clan.
Japanese: 戦国時代(日本)に入ると、作法を保持していた有力な守護大名・守護代が次々と滅び、江戸時代まで作法を継承できたのは島津氏と小笠原氏だけとなった。
English: After that, in the Satsuma clan, Inuoumono was held at auspicious events such as heirs' genpuku (celebrate one's coming of age), except during the interruption by the law prohibiting cruelty to animals.
Japanese: その後、薩摩藩では一時生類憐みの令による中断を除き、世子の元服の時など慶事のおりに開催していた。
English: After the Meiji Restoration and the demise of the feudal system characteristic of the shogunate, Inuoumono lost its patrons such as the bakufu and the Satsuma clan and become difficult to maintain its techniques.
Japanese: 明治維新の後幕藩体制が崩壊、幕府、薩摩藩という庇護者を失った犬追物は技術保持が困難となった。
English: Because, in addition to the tendency of ignoring Japanese traditional culture at that time, Inuoumono which required a huge space and many participants needed also tremendous amounts of money to hold its event and its training and practice.
Japanese: 当時日本の伝統文化を軽視する風潮があったことにくわえ、広大なスペースと大勢の競技者が必要な犬追物は、興行にも、その稽古にも多大な費用を必要としたからである。
English: In 1881, Tadayoshi SHIMAZU held an Inuoumono event with the Emperor Meiji in attendance and this was the last Inuoumono event in Inuoumono history.
Japanese: 明治14年、島津忠義は明治天皇の前で犬追物の天覧を行ったが、これが史上最後の犬追物興行となった。
English: Today, the manner has been handed down in the historical materials related to the Shimazu family (a national treasure 'the archives of the House of Shimazu') and the Ogasawara school, but the demonstration will not be restored in the future due to animal welfare.
Japanese: 現在、島津家関係の史料（国宝「島津家文書」など）や小笠原流の資料により作法は伝わっているが、実演の方は動物愛護との絡みもあり、今後も復興されるみこみはない。
English: Hatsumiyamairi (a Shinto rite of passage for newborns) is to thankfully report to Ubusunagami (guardian deity of one's birthplace) that a baby safely had the one month anniversary.
Japanese: 初宮参り（はつみやまいり）とは、赤ちゃんが無事に生誕1ヶ月目を迎えたことを産土神に感謝して報告することを指す。
English: In Japan, there is a custom for parents of a baby to take their baby to a shrine, celebrating the baby's birth and wishing the baby's healthy growth, with a grandmother on the baby's father's side after one month from the baby's birth.
Japanese: 日本には赤ちゃんの誕生と健やかな成長を願って、生誕約1ヶ月目に、両親と父方の祖母が付き添って神社にお宮参りをする風習がある。
English: Nowadays, it is common that a grandmother on the baby's mother's side accompanies them to a shrine as well as the grandmother on the baby's father's side.
Japanese: 現代では父方の祖母だけでなく、母方の祖母が付き添うことも多くなっている。
English: In Kyoto, there is a custom for a baby-girl to go to a shrine earlier than a baby-boy, wishing that a baby-girl would marry early.
Japanese: 京都においては、女の子が早くお嫁に行けるようにと、男の子よりも早い時期にお宮参りを済ませる風習がある。
English: The formal dress for a baby is wearing a congratulatory kimono jacket with a family crest on top of white 'habutae,' a thin, soft, durable Japanese silk Kimono.
Japanese: 赤ちゃんに「白羽二重」の着物を着せ、紋の付いた祝い着を上から羽織らせる形が正式なものである。
English: Gimei (counterfeit inscription) is an inscribed name of a person other than the original creator.
Japanese: 偽銘（ぎめい）とは、本来の作者とは異なる人物の名が入れられた銘のことである。
English: Various imitations coexist with various antiques, and experts know that many Japanese imitation swords from other countries exist.
Japanese: あらゆる古美術品には偽物が混在しており、日本刀も伝来品には偽物が多いことは玄人の間では常識となっている。
English: Unlike tea utensils for which the fact of introduction is important, it is important for Japanese swords to be 'real.'
Japanese: 日本刀は茶器と違って、伝来の事実ではなく、「正真」であることこそが重要とされる。
English: Since the style of the old swords created by the Soshu artisans is characteristic, it is easy for someone with certain knowledge to detect the imitation.
Japanese: 相州上工の作は特徴ある作行きである事から、一通り知識がある場合は見破りやすい。
English: As for the old swords such as the old Bizen (with inscription), the old Aoe, even an expert is not able to determine its generation or to judge its authenticity (old swords imitated at that time).
Japanese: 古備前（在銘）、古青江などの各代の特定もしくは真偽（当時の偽物）は専門家でも不可能である。
English: In particular, there is no difference in technique among the old swords created in the latter half of the Heian period, and the way of inscribing is not consistent due to the existence of generations.
Japanese: 特に平安後期の作は技量が平均的であり、しかも厄介なことに代があるため銘振りが一定していない。
English: Even an expert is not able to detect an imitation old sword created in the period until the Kamakura period, called the jidainise (imitation created at that time).
Japanese: 鎌倉期迄の当時の偽物、時代贋（じだいにせ）は、専門家でも看破することはできない。
English: However, new swords including the old swords after the Muromachi period, and the very new sword claimed to be a sword from the Kamakura period, can be detected by its material, iron and figure.
Japanese: 但し、室町期以降の古刀を含む新刀、新々刀を鎌倉期の刀に見せかけたもの等は地鉄、姿から看破できる。
English: A glossy rumor about an imitation sword created by a sword craftsman that today is designated as a national treasure, is absolutely ridiculous.
Japanese: ましてや現代刀工による鎌倉期の写しが国宝に指定されているなどというまことしやかな噂は荒唐無稽である。
English: Even if no inscription is carved on the sword, the feature of iron and the Nioikuchi (a part of a sword where light seems to stand out) of the old sword is definitely different from a new one.
Japanese: 大磨上無銘であろうとも、古刀の場合は地鉄の特徴、匂い口が決定的に異なる。
English: For instance, Kunihiro HORIKAWA who was the best new sword craftsman, imitated the work of Soshu artisans, but the difference in periods, in the iron quality and the Nioikuchi, between that in the Kamakura period and those whose iron is beautiful in the Keicho Genwa era is obvious
Japanese: 例えば新刀最上作である堀川国広が相州上工の作を写しているが、鎌倉期の地鉄、匂い口と、慶長元和期の綺麗な新刀地鉄とでは時代の差が歴然としている。
English: Shinogichi (ridge) of the sword is with masame (straight grain), and the cutting part is the same as komaru (style of a cutting part) of a new sword, which makes it easy to identify at a glance.
Japanese: また鎬地が柾がかり、帽子は新刀の小丸となり、正真作と比べれば一目瞭然である。
English: List up several sword craftsmen and schools that often are subject to gimei between an old sword and a new sword, or between old swords.
Japanese: 古刀間、古刀－新刀間で偽銘が行われやすい刀工、流派を数種挙げておく。
English: Basically, gimei is often used within the school with close technical relationships (immigration, training, descendant, etc.).
Japanese: 基本的に技術関係が深い（移住、修行、子孫等）一派の間で行われやすい。
English: As for the Mino swords, it is with masame (straight grain), and Nie deki (a type of temper line), it is often the imitation of a new sword.
Japanese: 美濃物については、鎬地柾がかり、沸出来となるため、新刀からの化かしが多い。
English: Copies of shizu were popular throughout the period from the new sword to the very new sword, therefore, a great deal of attention should be paid to the sword with major grind up.
Japanese: また、新刀、新々刀期を通して、志津写しが人気だったため、大磨上のものにはよくよく注意が必要である。
English: To detect a counterfeit new sword, focusing on two points; the strength of shinogichi (ridge) and the sharpness of the cutting part, would be a clue.
Japanese: 新刀からの贋作については、鎬地の鍛え目、帽子の焼き具合の２点を注視すれば看破するきっかけになる。
English: Using Gimei, including the case of imitating the work by a student as the work by a teacher, is common; there is no obvious difference in iron quality after an appearance of new sword.
Japanese: 新刀以降、地鉄に顕著な全国的差異がないことから、弟子の作を師匠の作等、数多く診られる。
English: Various ideas; changing the way of inscribing, making the back of the haft round, making it thick, or inscribing a secret mark, are found.
Japanese: そのため銘振りを変えたり、中茎の棟を丸棟にしたり肉を持たせたり、隠し鏨を入れたり、化粧鑢を複雑にしたりと、様々な工夫が見られる。
English: Since the research on the haft and signature was advanced, it is relatively easy to identify the sword with Gimei created in the ancient times even with a glance of the haft.
Japanese: 当時に行われた偽銘は、中茎、銘の研究が進んだ今日においては中茎を見るだけでも比較的容易に見破ることが出来る。
English: Kajihei selected swords from all swords; the old, the new, or the very new swords, and inscribed Gimei to them.
Japanese: 鍛治平は古刀、新刀、新々刀問わず、それらしい刀を選んでは偽銘を施した。
English: Sadakazu GASSAN who later became a member of Imperial Household Performance Art also inscribed Gimei including Ikkanshi Tadatsuna, with excellent skills.
Japanese: 後に皇室技芸員となる、月山貞一も得意の彫りで一竿子忠綱をはじめ偽銘を行った。
English: Today, the real inscription of sword craftsman is widely known through Oshigata (mold) or photo books.
Japanese: 下って現代においては、押形や写真集により、刀工正真銘が多く知られている。
English: However, today, it is easy to detect a sword to which Gimei was inscribed; the color of rust on the haft with Gimei was unnatural, and the iron used is also different from the ancient times.
Japanese: 然しながら、現代における偽名は、中茎の錆色が不自然で、また地鉄も異なることから看破出来る。
English: To identify Gimei or counterfeit swords, one must be familiar with the Gokaden (classification of Japanese swords), figures in each period (weight of temochi; haft), iron, features of a blade (Nioikuchi, cutting part), haft (figure, yasurime [grinding grid mark], finished way of the back of haft, hole [mekugi holes], the position of inscription, inscription itself).
Japanese: 刀の偽銘、贋作を見極めるには、五箇伝、各時代の姿（手持ちの重さ）、地鉄、焼き刃の特徴（匂い口、帽子）、中茎（姿、鑢目、棟仕上げ、目釘孔、銘の位置、銘そのもの）に精通していなければ困難である。
English: It is required to face real swords and continue to learn key points for detecting real swords on one's own.
Japanese: その為には、正真正銘の刀と直接対峙し、自分なりに見極め処を覚えていく事が必要となる。
English: Takigi-noh (Noh play performed at night by a fire) is a Noh play that is especially chosen and performed in Noh Theater or on a Noh stage with a beacon fire around which is temporarily installed outside mainly on summer nights.
Japanese: 薪能（たきぎのう）は、主として夏場の夜間、能楽堂、もしくは野外に臨時に設置された能舞台の周囲にかがり火を焚いて、その中で特に選ばれた演目を演じる能。
English: The origin of Takigi-noh dates back to the middle of the Heian period, and the first Takigi-noh was performed in Kofuku-ji Temple in Nara Prefecture.
Japanese: 起源は平安時代中期にまで遡り、奈良の興福寺で催されたものが最初だという。
English: The headstream of Takigi-onoh is a sacred rite from Shinto rituals and Buddhist rituals; it may be regarded as Takigi-noh if a Noh play is performed by a firewood outside.
Japanese: また、薪御能の源流はあくまで神事・仏事の神聖な儀式であり、野外で薪を燃やせば薪能になるのではないとしている。
English: Currently, Takigi-noh is performed in shrines and temples (Heian-jingu Shrine, Zojo-ji Temple, Kanda Myojin, Ikukunitama-jinja Shrine, etc.) and gardens (Osaka-jo Castle Nishinomaru garden, the Shinjuku Imperial Gardens, etc.) in various places.
Japanese: 現在、各地の神社仏閣（平安神宮、増上寺、神田明神、生国魂神社など）や庭園（大阪城西の丸庭園、新宿御苑など）で催されている。
English: It has a long history, originating in 10000 B.C. and it has been succeeded until today.
Japanese: また長い歴史をもっており、日本に人間が住み始めた紀元前10000年頃から現在まで継承されている。
English: Japanese art culture, originating in 10000 B.C. was descended from the period when new culture or foreign concepts was introduced all of a sudden, followed by the long period when cultural exchange was interrupted.
Japanese: 紀元前10000年頃を起源とする日本の芸術文化は、歴史的に見ると新文化あるいは外国の考えが突然流入してくる時期があり、その後に海外との接触がほとんどない時期が長く続いている。
English: After years, Japanese people acquired abilities to absorb, imitate, and assimilate them into foreign cultural elements, and to accomplish Japanese original tastes on arts.
Japanese: 年月を経て日本人は外国文化の要素を吸収し、真似、そして同化して日本独特の美的嗜好を完成させる能力を身につけた。
English: The first complicated art that was closely associated with Buddhism in Japan was born around from the seventh to eighth centuries.
Japanese: 日本における最初の複雑な美術は仏教と密接に関連付けられたもので、7世紀、8世紀頃に生まれた。
English: While Japan kept some distance from China in the ninth century, Japanese people started to create their own means of expression in the ninth century and then an emphasis was placed on nonreligious art.
Japanese: 9世紀になり、日本が次第に中国と距離を置き、自国の表現方法を生み出し始めると、今度は非宗教的な美術に重点が置かれた。
English: In the period from the 10th to 12th century, the period of the Kokufu Bunka (Japan's original national culture) and Insei period culture, 'Japanese style,' the culture suited to Japanese tastes was sophisticatedly developed.
Japanese: 10世紀から12世紀までの国風文化と院政期文化の時代には、日本人好みの文化「和様」が洗練されていった。
English: After the middle of the 13th century when the Zen sect was in full bloom, karesansui (dry garden style) became popular, and both Buddhist art and nonreligious art were prosperous until the latter half of the 15th century.
Japanese: 禅宗が盛んになる13世紀中期以降は枯山水が流行し、15世紀後期まで、仏教美術と非宗教美術の双方ともが繁栄した。
English: After the Onin War (1467 - 1477), Japan entered the Sengoku period (period of warring states), and was politically, socially, and economically divided for more than 100 years.
Japanese: 応仁の乱（1467年-1477年）後100年以上にわたり、日本では政治的、社会的、そして経済的に分裂した戦国時代(日本)に突入した。
English: During the Edo period governed by the Tokugawa shogunate, organized religions hardly influenced the life of people, and most of the remained arts were nonreligious arts.
Japanese: 徳川幕府が治める江戸時代に入ると、組織的宗教は人々の生活にはほとんど影響を及ぼすことはなくなり、残った美術は非宗教的なものがほとんどであった。
English: The Japanese garden, a circuit style garden, started to be constructed in the Daimyo's large homes after the early 17th century.
Japanese: 日本庭園は、17世紀初期より大名の広大な邸宅に回遊式庭園が造られるようになった。
English: Paintings, excellent artistic expressions, are preferred in Japan; painters create works whether they are professional or amateur.
Japanese: 絵画は日本では良質な芸術表現として好まれ、プロもアマも同じように制作を行っている。
English: Given that Japanese people have been familiar with brushing through their use of a brush instead of a pencil, their appreciation for paintings was heightened.
Japanese: 現代に至るまでは日本人はペンよりも筆をよく用い、古くから筆になじんでいたため、絵画の美しさや価値を鑑定する眼は非常に鋭かった。
English: In the Edo period, so-called pop culture (sub culture) became very popular.
Japanese: 江戸時代にいわゆるポップカルチャー（サブカルチャー）が大人気となった。
English: The woodblock print called the Ukiyoe (Japanese woodblock prints) became the major artistic means, and skills of Ukiyoe created colorful paintings to exactly suit its purposes; from daily newspapers to textbooks.
Japanese: 浮世絵と呼ばれる木版画が主要な芸術手段となり、浮世絵の技術は日刊新聞から教科書にいたるまで用途にぴたりとあった色彩豊かな作品を生み出した。
English: Sculptures in Japanese society, where traditional Buddhism was losing its power, were waning; most of Japanese sculptures were related to religions.
Japanese: というのは、日本の彫刻の大部分は宗教と密接につながっており、伝統的な仏教が次第に力を持たなくなった日本社会においては彫刻は衰退していった。
English: Japanese ceramics are the most excellent across the world, and it has the longest history amongst the Japanese arts.
Japanese: 日本の陶芸は世界で最も優れており、日本文化においても最も古い歴史がある。
English: Japanese architecture represents the Japanese preference, placing an emphasis on natural materials and the harmonic unity of the outside and inside of a building.
Japanese: 日本建築においては、天然素材と建物の外部と内部の空間の調和へのこだわりという日本人の嗜好がよく現れている。
English: Today's Japan is powerful and competitive with other countries in modern art, fashion, and architecture by containing truly new ideas, embracing the world, and creating trends to unify various cultures (or beyond culture).
Japanese: 今日の日本は、真に新しい思想をはらみ、世界を包括し、様々な文化を統合した（あるいは文化を持たない）トレンドを生み出すことで、現代美術、ファッション、建築などにおいて他国と競うほどの影響力を持つ。
English: Jomon men, the first people in the Japan islands, were hunting people who mainly hunted and fished for their life, and later, they did collective farming, forming large and small communities.
Japanese: 最初の日本列島の住人である縄文人は、狩りや漁撈を生活の中心に据えた狩猟民であったが、のちに集団農業を行い、日本各地に大小の集落を形成した。
English: The name of 'Jomon' came from the pattern of ropes inscribed on their earthware.
Japanese: 「縄文」という名称は彼らの土器に刻まれた縄の模様にちなんでつけられたものである。
English: Jomon men lived in tateanajukyo (a pit dwelling house), and made earthware for cooking or storing food, and ornaments using clay dolls, jade, or agate (including nioidama).
Japanese: 縄文人は竪穴住居に住み、食べ物を料理したり貯蔵するための土器、土偶やヒスイや瑪瑙による装飾品（匂玉など）を作っていた。
English: Yayoi men arrived in Japan around 350 B.C., and they introduced knowledge of wet-paddy rice cultivation, skills with copper arms and dptaku (a bell-shaped bronze vessel), and creative skills with ceramics that were made on the wheel and burnt in a dried burner.
Japanese: 彼らは紀元前350年頃、日本に到着し、水田稲作の知識、銅武器と銅鐸の技術、ろくろで造られ、乾燥炉で焼かれた陶磁器の制作技術をもたらした。
English: Inoko (the Young Boar Festival) is an annual event held on the day of boar in October (month of boar) in old calendar.
Japanese: 亥の子（いのこ）は、旧暦10月（亥の月）の亥の日に行われる年中行事。
English: In some cases, children visit houses in their area, pounding the ground in front of each house.
Japanese: あるいは、子供たちが地区の家の前で地面を搗(つ)いて回る事等がある。
English: Regarding the origin of this event, there are several theories including; it originated in the custom in China that they ate dumplings with grain mixed at the time of boar on the day of boar, which was adopted to a court function in Japan; it originated in an incident that occurred in the ancient Imperial Court.
Japanese: 歴史的には、古代中国で旧暦10月亥の日亥の刻に穀類を混ぜ込んだ餅を食べる風習から、それが日本の宮中行事に取り入れられたという説や、古代における朝廷での事件からという伝承もある。
English: This event gradually spread to court nobles or Samurai, and eventually, it was established as a popular event.
Japanese: この行事は次第に貴族や武士にも広がり、やがて民間の行事としても定着した。
English: It was held just after the harvest, thus it was intended to celebrate the harvest as well.
Japanese: 農村では丁度刈入れが終わった時期であり、収穫を祝う意味でも行われる。
English: In some regions, it is said that the act of pounding the ground was intended to send tanoak (deity of rice fields and harvests) to the heaven (or mountains).
Japanese: また、地面を搗くのは、田の神を天（あるいは山）に返すためと伝える地方もある。
English: It is also intended to have a share of luck from a boar that has many babies, and it is believed one is free from fire disasters if the prepares kotatsu (table with heater) on the day of boar.
Japanese: イノシシの多産にあやかるという面もあり、またこの日に炬燵等の準備をすると、火災を逃れるともされる。
English: The embodiment of an event varies according to region, in some regions, they eat Inoko mochi (boar dumplings), but don't pound stones, and vice versa.
Japanese: 行事の実施形態はさまざまで、亥の子餅を食べるが石は搗かない、あるいはその逆の地方もある。
English: Plain dumplings, dumplings with boiled azuki beans are usually prepared, and sometimes special dumplings with a shape of boar are prepared.
Japanese: 餅は普通のものや茹で小豆をまぶした物などが作られるが、猪肉を表した特別なものが用意されることもある。
English: From the evening to the night on the day of boar in October in the old calendar, children (sometimes all are boys) in the area get together, and visit houses one by one, singing a song, and swinging a rope connected onto a flat round stone or globular shape stone up and down, pounding the ground with the stone.
Japanese: 旧暦10月の亥の日の夕方から夜にかけて、地区の子供たち（男子のみの場合もある）が集まり一軒一軒を巡って、歌を歌いながら平たく丸いもしくは球形の石に繋いだ縄を上下させて地面を搗く。
English: According to some cases using a straw gun, they may be associated with a similar event, tokanya (the night on the 10th day of October) held on October 10 in the east of Japan.
Japanese: 藁鉄砲を使う事例により、東日本における10月10日(旧暦)に行われる同様の行事、十日夜（とおかんや）との類似性が指摘できる。
English: After children pound the ground, a semi circle hole was left in the front yard of each house; the bigger it was, the happier they were.
Japanese: 石を搗いた後は各家庭の庭先に石の形に半球の穴がのこり、大きいほど喜ばれた。
English: It was the early winter feature, but most streets were concreted in recent years.
Japanese: またその風景が初冬の風物詩であったが、近年はコンクリートなどで舗装している場合がほとんどである。
English: People carry a small tatami mat around, and children pound on it or just pretend to have a gesture of pounding in the air.
Japanese: 小さな畳を持ち運びその上で搗いたり、空中で搗く動作だけを行ったりするようになっている。
English: During the period from 1965 to 1974, some schools prohibited Inoko events and the Inoko event was abolished because students were too preoccupied with preparation for the event or practice of Inoko songs to concentrate on their homework or to study.
Japanese: 尚、昭和40年代に、この時期になると準備や亥の子歌の練習に夢中になり、宿題や勉強がおろそかになることなどから、学校が亥の子行事を禁止し廃れてしまった地域もある。
English: In some regions such as (Yoshida cho, Uwajima City, Ehime Prefecture), this event has been preserved and encouraged and is still held as a 'community center event.'
Japanese: また、「公民館行事」として保護奨励され未だ興隆している地域（愛媛県宇和島市吉田町など）もある。
English: It belongs to Komagaku music (the music form arranged in the Heian period mainly based on the Bohai music and sankangaku [the music of three old Korean countries; Silla, Peakche, and Koguryo], not based on the Komagaku music, one of sankangaku, [Goguryeo folk lore music]) and Uhomai Dance; it was not originated in Bokkai (country) or Korean Peninsula, and it was created in Japan based on the form of Komagaku music.
Japanese: 高麗楽（三韓楽の一つである高麗楽（高句麗の民族音楽）では無く、渤海楽・三韓楽を中心に平安時代に編集された音楽様式）・右方の舞に属するが、渤海(国)や朝鮮半島が起源なのではなくて高麗楽の様式に則って日本で作られた曲。
English: It was created as Tsugaimai Dance for Karyobin, and the form or costume is based on Karyobin.
Japanese: 迦陵頻の番舞（つがいまい）として作られたため、迦陵頻を形式や装束のベースにおいている。
English: They wear long sha (silk gauze) ho (outer robe, vestment) in greenish earth color with butterfly patterns on top of white hiraginu (plain silk) hakama (pleated and divided skirt made in fine stripes) with a yamabuki (bright yellow) branch in their hand.
Japanese: 平絹白地の袴の上に、緑系統の地色に蝶を散らした尻長の紗の袍を着て、手には山吹の枝を持つ。
English: They put on shigai (shoes made of silk threads), and wear cowhide or Japanese paper wings on which red or greenish blue butterfly wings were described on top of whitewash base and a bib on their chest and back.
Japanese: 足には絲鞋を履き、背と胸に、牛革、又は重ね貼りした和紙に胡粉を引き紅や緑青で蝶の羽を描いた翼と胸当てをつける。
English: They wear hokan (crown) (in gagaku [ancient Japanese court dance and music]), it refers to a metal band for hair with a mountain-like ornament on the front and two sword-like ornaments on each side of the band), with arabesque, plated with gold, guilt on their head, and clip two yamabuki (bright yellow) branches, and lower ring of their hair was often set in mizura, tsunogami style.
Japanese: 頭に鍍金した唐草模様の宝冠（雅楽では、山形の額飾りと側頭部に二本の剣形の飾りを備えた金属製のヘッドバンドを指す）をつけて二本の山吹の枝をはさみ、図画資料では髪は下の輪のみの角髪に結うことが多い。
English: The make-up style was heavy Shironuri (white makeup) make-up style, and it was same as that for children, and it could be no make-up or natural make-up.
Japanese: 化粧は稚児と同様の白塗りの厚化粧が原則となるが、しない場合や薄化粧の場合もある。
English: According to 'Kocho' from the Tale of Genji, children wearing such costumes row a boat where a feast was held.
Japanese: 源氏物語「胡蝶」などを見ると、この衣装をつけさせた童子に宴会の際の舟を漕がせることなども行われていたらしい。
English: The term "biwa hoshi" represents blind priests who played the biwa (a Japanese lute) in a town, and they first appeared in the Heian period.
Japanese: 琵琶法師（びわほうし）は平安時代から見られた、琵琶を街中で弾く盲目の僧である。
English: In the Kamakura period, they formed two groups: one was moso-biwa (which literally means "a blind priest's biwa"), who mainly chanted the Buddhist scriptures, and the other one was Heike-biwa, who chanted the Heike Monogatari.
Japanese: 鎌倉時代、主として経文を唱える盲僧琵琶と、平家物語を語る平家琵琶とに分かれた。
English: Dairibina is a pair of Girl's Festival dolls representing the emperor and the empress, and is placed on the top tier of a display.
Japanese: 内裏雛（だいりびな）とは天皇と皇后を表す一対の雛人形で、段飾りにおいては最上段に飾られる。
English: Until the end of the Edo period, people did not have tiered displays, which are widely seen in the present day, and the standard style was to display only dairibina, a pair of male and female dolls.
Japanese: 江戸末期までは、今日のような段飾りは無く、男女一対の内裏雛のみを飾るのが普通だった。
English: When people make kawaribina (Girl's Festival dolls of unusual appearance), dairibina dolls are often modeled after one male and one female who are selected among people in the news reflecting the current or previous year's trend.
Japanese: 変わり雛は、その年あるいは前年に話題となった人物の中から男女1人ずつを選び、内裏雛に見立てて作られることが多い。
English: Hikari-beni, also referred to as tsuya-beni (which literally means "shiny red") is pigment made by separating the coloring matter of safflowers with plum vinegar.
Japanese: 艶紅（ひかりべに・つやべに）とは、紅花の色素を梅酢で分離した顔料のこと。
English: This was formerly used as a red cosmetic for the lips, and high-quality ones are specially called 'kyo-beni' because they are refined in Kyoto.
Japanese: 古くは口紅としても使われ、特に上質のものは京都で精製されたため「京紅」とも呼ぶ。
English: Solution of the coloring matter separated from safflowers is sold in a white ceramic bowl with a lid which prevents the color of beni from being worn out, a sake cup (light cannot enter the cup as long as it is turned over), or a seashell, after being spread with a number of coats on such a container and dried up.
Japanese: 紅花から分離した色素の溶液を、紅が退色しないように蓋が付いた白色の陶器の椀や猪口（伏せておけば光が入らないため）、あるいは貝殻に何度も塗り重ねて乾燥させた状態で販売されている。