nntsuzu/KFTT huggingface dataset:
English: During the Heian period and after, however, very few statues were made by this method, due to the large amount of costly urushi required, and the time-consuming process.
Japanese: しかし、高価な漆を大量に用いるうえ、制作にも手間がかかるため、平安時代以降はほとんどつくられなくなった。
English: The Shitenno ryuzo (standing statue of the Four Devas) in Kondo of Taima-dera Temple in Nara City is severely damaged and believed to be the oldest example of statues made by Dakkatsu-kanshitsuzo.
Japanese: 奈良・当麻寺（たいまでら）金堂の四天王立像は、破損甚大ながら、日本における脱活乾漆像の最古例と見なされる。
English: In this technique, a roughly-shaped core is made by carving wood, which is covered by layers of hemp cloth soaked in lacquer, and makko-urushi or kokuso-urushi is applied to build up the detail over the rough statue.
Japanese: 像の概形を木彫でつくり、この上に麻布を貼り、抹香漆または木屑漆を盛り上げて完成させる像である。
English: While statues of dakkatsu-kanshitsuzo are hollow, mokushin-kanshitsuzo have a wood core inside with the hemp cloth layer being thinner than the former technique.
Japanese: 脱活乾漆像が中空の像であるのに対し、木心乾漆像の像内には木心が残ったままであり、麻布もさほど厚くは貼らない。
English: Some Buddhist statues in the early Heian period were made based on carved wood figures, partially by mokushin-kanshitsuzo to create details such as facial expressions and accessories; therefore, in some cases, it is difficult to categorize them into 'carved wood figure' or 'mokushin-kanshitsuzo' (wood core dry lacquer technique) by rule.
Japanese: 平安時代前期の仏像の中には、木彫り像の一部に木心乾漆技法を併用して表情、装身具などの細部を形づくっている例も多く、「木造」か「木心乾漆造」か、機械的に分けるのが困難な場合もある。
English: Hokkedo (Sangatsudo) of Todai-ji Temple: standing statue of Fukukenjaku Kannon (Kannon of the Never Empty Lasso), standing statues of Bonten (Brahma, a major Hindu deity thought to be responsible for creating the world) and Taishakuten (Sakra devanam Indra), standing statues of the Kongo-rikishi guardian deity and the Misshaku-rikishi deity
Japanese: 東大寺法華堂（三月堂）不空羂索観音立像、梵天・帝釈天立像、四天王立像、金剛力士・密迹力士立像
English: It is typically served warm from the pot or cold as a side dish for sake (Japanese liquor) and other alcohol drink, or as a condiment for rice and chazuke (a simple rice dish made by pouring green tea or dashi over cooked rice and sprinkling toppings).
Japanese: 酒のつまみやご飯や茶漬けの付け合わせとして温かいまま、または冷えたものも食べられる。
English: In some grocery stores in Shiga Prefecture, simmered takuan dishes are sold at the ready-made dish section labeled as 'zeitaku-ni' (luxurious simmered dish).
Japanese: なお、滋賀県内のスーパマーケットでは惣菜コーナーにおいて「ぜいたく煮」という名称で販売もされている。
English: This phrase might make people wonder at first, because it is difficult to make a connection with the simmered dish of daikon pickles, and it indicates the dish with unique cuisines by each region.
Japanese: この名称はあまりに一般的であり初めて聞くものには違和感を抱かせるが、それぞれの地域では、固有の料理法をもつ料理をさす。
English: Every family has their own recipe inherited from generation to generation; below is an example of how the simmered takuan dish is made in Fukui Prefecture.
Japanese: それぞれの家庭に伝来の味があるがここに福井県での作り方の一例を示す。
English: Cut old takuan into 2 to 3 mm thick into round slices, put them in a bowl with water.
Japanese: 2～3mmの厚さで輪切りにした古沢庵と水をボウルに入れ、30分程度置いた後、水を捨てる。
English: When takuan becomes soft enough, pour the water off, then add dashi, soy sauce, and one table spoon of sesame oil, and let it simmer for a while.
Japanese: 沢庵が柔らかくなったら水を捨て、出汁・醤油・油（胡麻油）大さじ1程度を加えて煮る。
English: When the takuan absorbs the soy sauce flavor, remove the pot from the heat, transfer the dish onto a plate, sprinkle white sesame (hineri-goma (soporific roasted sesame crushed with fingers), and sliced dried red chili pepper in rounds as topping.
Japanese: 沢庵に醤油味が付いたら火を止め、皿に盛って白ゴマ（ひねり胡麻）と輪切りにした赤唐辛子をちらす。
English: Sonen School is a school of calligraphy founded by Cloistered Imperial Prince Sonen.
Japanese: 尊円流（そんえんりゅう）とは尊円法親王が起こした書(書道)の流派(書流)である。
English: The school is also known as Shorenin School or Oie School.
Japanese: 青蓮院流（しょうれんいんりゅう）、御家流（おいえりゅう）とも呼ばれる。
English: It is known as Sonen School because it was separated from Sesonji School, developed, and founded as a new school by Cloistered Imperial Prince Sonen.
Japanese: 尊円流の名の由来は、尊円法親王が世尊寺流から分化発展させ、創始されたため
English: Also, it is known as Oie School (literally, the family style) because Emperor Fushimi, the father of Cloistered Imperial Prince Sonen, said when looking at the calligraphy, 'this shall be the style of your family lineage.'
Japanese: 御家流の名の由来は、尊円法親王の父君伏見天皇が、この書流を見て「今後、汝が家の流儀とせよ」と、仰せられたため
English: As listed above, there are many schools of calligraphy derived from Sonen School, which may create an impression that the schools of Sonen School are flourishing; however, the schools were short of prominent calligraphers (the exception was the kakemono (a hanging scroll of calligraphy displayed in the teahouse) in this school were used for tea ceremony by Sojun IKKYU).
Japanese: 上記のように派生流派が多く、一見隆盛を極めているかのように見えるが、とくに傑出した能書家がない（一休宗純が茶道用の掛物として当流を使用しているのがわずかに目立つのみとされる）。
English: However, official documents of samurai families were typically written in the Oie School, which gradually spread throughout the social strata in Japan.
Japanese: ただし、武家の公式文書は多く御家流で書かれたため、次第に全国のあらゆる階層に普及した。
English: In response to the growing interest of education, the Oie School explosively spread as it was used in the textbooks for common citizens, such as oraimono (textbooks of letter format), in terakoya (temple elementary school) in the Edo period.
Japanese: 江戸時代には教育熱の高まりとともに、寺子屋などで庶民が学ぶ往来物などの教科書でも御家流の書が用いられていたことから、爆発的に普及。
English: Such stories of stones can be roughly classified into two kinds of legends; one is about a stone having a tradition that a cry is heard from it, and the other is about a stone that stops a baby from crying at night.
Japanese: 大別すると、泣き声がする、子どもの夜泣きが収まるとの伝説に分かれる。
English: - It is said that a stone, which was possessed by a mother who died during pregnancy, thinks of her baby, and cries.
Japanese: -身重のまま殺された母が乗り移った石が子を思い、泣くといわれている。
English: - Legend has it that a child was killed in a flood, and at night, a cry is heard from the stone.
Japanese: -水害の時に子どもが亡くなったという言い伝えがあり、夜中になると泣く声がする。
English: It is said that a stone was picked up and placed in a garden in a castle, but the stone cried every night, eager to return to the shrine where it was before, and it ended up being returned to the shrine.
Japanese: -城の庭に召し上げられたが、元あった神社に帰りたいと夜毎泣き、神社に戻されたといわれている。
English: Uraku school (Uraku-ryu) is one of the various schools of sado started by Nagamasu ODA (Urakusai), who was the real younger brother of Nobunaga ODA.
Japanese: 有楽流（うらくりゅう）は、織田信長の実弟織田長益（有楽斎）に始まる茶道の流派の一つ。
English: It was enjoyed among the families belonging to the Shibamura clan of Yamato Province, a lineage of Nagamasu's fourth son Nagamasa ODA (Daimyo - Japanese feudal lord), and the Yanagimoto clan of Yamato Province, a lineage of Nagamasu's fifth son Naonaga ODA.
Japanese: 4男織田長政(大名)の系統の大和芝村藩、5男織田尚長の系統の大和柳本藩の家中で嗜まれた。
English: The one passed to Nagamasu's second son Yorinaga ODA, Yorinaga's first son Nagayoshi ODA and Nobunaga's grandson Sadaoki ODA is called the Sadaoki school after the generation of Sadaoki.
Japanese: また長益の次男織田頼長、その長男織田長好、信長の孫織田貞置と継承され、貞置以降のものを貞置流ともいう。
English: Furthermore, a school named the Bishu-Uraku school was passed down in families belonging to the Nagoya clan of Owari Province, which took on Sadamoto ODA, Sadaoki's nephew, and the school still continues to exist to the present day.
Japanese: さらに貞置の甥織田貞幹を召し抱えた尾張名古屋藩の家中に伝えられ現在まで続く流派として、尾州有楽流（びしゅう-）がある。
English: The founder of the Uraku school, Nagamasu ODA, was the younger brother of Nobunaga ODA, and after the Honnoji Incident, Nagamasu first served Nobukatsu ODA, who was the second son of Nobunaga, and realized the compromise of the Battle of Komaki and Nagakute, and after Nobukatsu was punished by being deprived of his fief, Nagamasu served Hideyoshi TOYOTOMI, and after Hideyoshi died, Nagamasu served Ieyasu TOKUGAWA.
Japanese: 流祖織田長益は織田信長の弟で、本能寺の変の後まず信長の次男織田信雄に仕えて小牧・長久手の戦いの和議を成立させ、信雄改易後は豊臣秀吉に、秀吉没後は徳川家康に仕えた。
English: At Osaka Fuyu no Jin (Winter Siege of Osaka), he stood for Osaka Castle and negotiated for a compromise, and when the compromise was realized, he lived in Kyoto in retirement.
Japanese: 大坂冬の陣では大坂城方について和議交渉にあたり、これが成立すると京都に隠居した。
English: As chajin (a man of tea), he studied under Joo TAKENO, and it is known that he was involved in tea from around the Honnoji Incident.
Japanese: 茶人としては武野紹鴎を師として仰いだという伝承があり、本能寺の変の前後から活動が知られている。
English: He is sometimes added to the seven disciples of Rikyu, but while the seven disciples were handed down the daisu (a display stand for tea ceremony utensils) by Hideyoshi, Urakusai was handed down by Rikyu directly in the presence of Hideyoshi, and this indicates that Urakusai was treated as special.
Japanese: 利休七哲の一人に加えることもあるが、七哲は秀吉から台子の相伝を受けたのに対して、有楽斎は秀吉面前で利休から相伝を受けるという別格に遇されている。
English: His style of tea ceremony first considers 'hosting the guest' as important, and then second, values creating originality and ingenuity by following and studying ancestors.
Japanese: 茶風としてはなにより「客を饗なす」ことを重んじ、ついで古人に倣って研鑽する中から創意工夫を生むことを良しとした。
English: Joan, the teahouse, located at Kyoto's Kennin-ji Shoden-in Temple, rebuilt as a retreat for his golden years, is a landmark.
Japanese: その集大成ともいえるのが、隠居所として復興した京都建仁寺正伝院に設けた茶室、如庵である。
English: Urakusai's cha (tea) was passed on to his second son Yorinaga ODA, his fourth son Nagamasa ODA (Daimyo), his fifth son Naonaga ODA, and so on.
Japanese: 有楽斎の茶は次男織田頼長、4男織田長政(大名)、5男織田尚長などに受け継がれた。
English: His territory of 30,000 koku (approximately 5.4 million liters of crop yield) in Yamato Province dealt out 10,000 koku to Nagamasa and Naonaga respectively, and the rest was kept by Urakusai as his retirement stipend.
Japanese: 家康から与えられた大和国3万石の領地は、長政と尚長に1万石ずつ分与して残りを有楽斎の隠居料とした。
English: It seems that Nagamasu intended to demise the remaining territory to Yorinaga, but Yorinaga predeceased Nagamasu in 1621, and Nagamasu got custody of Yorinaga's first son Nagayoshi ODA, but the Shogunate did not allow Nagayoshi to inherit the territory.
Japanese: おそらく頼長へ引き継ぐつもりだったと考えられるが、しかし頼長は元和6年（1621年）に先立ち、その長男織田長好を引き取るものの相続はかなわなかった。
English: Sadaoki ODA was the second son of Nobusada ODA, who was the ninth son of Nobunaga ODA, and was Hatamoto (direct retainer of the shogun) holding 10,000 koku (180.39 cubic meters) as his territory, and after the death of Nagayoshi ODA, Sadaoki inherited the Uraku school and had many disciples as koke (privileged family under Tokugawa Shogunate).
Japanese: 織田貞置は織田信長の9男織田信貞の次男で1000石の旗本であったが、織田長好の没後に有楽流を継承し高家として多くの門弟を抱えた。
English: Sadaoki's nephew Sadamoto ODA served the Nagoya clan of Owari Province and passed down the Uraku school, and it was continued by sado people (people in charge of the tea ceremony) including successive Suya HIRAO and the Kasuya family until the end of the Edo period.
Japanese: 貞置の甥織田貞幹は尾張名古屋藩に仕えて有楽流を伝え、歴代平尾数也（すうや）や粕谷家といった茶頭たちによって幕末まで伝えられた。
English: On the other hand, Nagamasa became the 10,000-koku daimyo of the Shibamura clan of Yamato Province and Naonaga became the 10,000-koku daimyo of the Yanagimoto clan of Yamato Province, and both lasted as Goryu schools until the end of the Edo period, and after the Restoration, too, they remained as viscount families.
Japanese: 一方長政と尚長は大和芝村藩・柳本藩それぞれ1万石の大名となり、代々御流として伝えて幕末に至り、維新後も子爵家として存続していた。
English: After the Restoration, the Uraku school also declined as other schools of Buke sado (the tea ceremony of samurai family) did, but after Showa period began, the Uraku school was reestablished, approving Shibamura-Oda family as the head family.
Japanese: 維新後は有楽流も他の武家茶道の諸流派同様凋落したが、昭和になってから芝村織田家を有楽流の宗家として再興した。
English: The Yoshingo-ryu school is a school of flower arrangement established by Seiryusai SAKURAI ichinyokoji (Ichinyo).
Japanese: 容真御流(ようしんごりゅう）とは、櫻井成龍齋一如居士を開祖とする華道流派。
English: When ichinyo dedicated flowers to Omuro-gosho, Ninna-ji Temple, he was appointed to Omuro-gosho kamu shoku (the person in charge of flower arrangement) and received an order that "as the feature is real, you shall be called Yoshin" (literally, real feature.)
Japanese: 一如が御室御所仁和寺に花を献じた際、御室御所華務職に任じられ、また「その容（すがた）、真（まこと）なるによって容真と名づけるべし」との沙汰を受けた。
English: Today, there are 2 branch schools: one is the school succeeded by a descendant of Ichinyo, and another is a school where Iemoto (the head family of a school) is Yatadera daimonbo.
Japanese: 現在、一如の末裔が継承する流派と、矢田寺大門坊を家元とする流派がある。
English: Emakimono (an illustrated scroll) is a kind of Japanese style painting composed of series of illustrated scenes or stories on a horizontally long screen made up of multiple sheets of rectangular paper (or silk cloth) connected side by side.
Japanese: 絵巻物（えまきもの）は、日本の絵画形式の1つで、横長の紙（または絹）を水平方向につないで長大な画面を作り、情景や物語などを連続して表現したもの。
English: Many emakimono have numbers of pictures and captions (narrative texts), alternately arranged for each text to explain what its relevant picture depicts, but there are also some emakimono with pictures only.
Japanese: 絵画とそれを説明する詞書が交互に現われるものが多いが、絵画のみのものもある。
English: On this emakimono, sutras are described on the lower stand while pictures used to explain the sutras are laid out at upper stand above related texts.
Japanese: これは巻物の下段に経文、上段にそれを絵解きする絵画を配したものである。
English: During the Heian period, there emerged some emaki which were produced as subjects of dynastic styled literature, preaching type stories.
Japanese: 平安時代になると、王朝文学の物語、説話などを題材とした絵巻が制作されるようになった。
English: These emaki created their own style, alternating the arrangement of pictures and uninterrupted texts of relevant captions, on paper materials where flowers and birds were designed and foils, thin and long strip, and fine powder of gold and silver were used for decoration.
Japanese: これらは、金銀箔や野毛、砂子を撒き、花鳥などの下絵をあしらった料紙に連綿体で書かれた詞書と、それに対する絵を交互に配する独特の様式を生み出した。
English: These monogatari-emaki (illustrated scrolls of tales) could depict in their own way of expression such stories as of "Makura no Soshi" (the Pillow Book), "Ise Monogatari" (the Tales of Ise), "Genji Monogatari" (the Tale of Genji), "Uji Shui Monogatari" (a collection of the Tales from Uji) and others, and especially "Genji Monogatari Emaki" (illustrated scrolls of the Tale of Genji) was drawn in rich colors to show the lives of noble class people, by using a special compositional technique called fukinuki-yatai which is useful to depict a residential interior without a roof and ceiling so that viewers can see overall conditions of the residence and furniture of that time.
Japanese: 物語絵巻は、『枕草子』『伊勢物語』『源氏物語』『宇治拾遺物語』などを、独特の表現で描写し、特に『源氏物語絵巻』は、濃厚な色彩で貴族の生活を描き、家屋は屋根を省略した吹抜屋台で描かれていて、当時の住居の状況や建具の使用状況などが一望できる。
English: During the Kamakura period, many emaki were produced, including kasen emaki (illustrated scrolls of celebrated poets), senki emaki (illustrated scrolls of war tales), jisha engi (illustrated legends of temples and shrines) and denki emaki (scrolls of illustrated biographies of well-known priests).
Japanese: 鎌倉時代には、歌仙絵巻、戦記絵巻、そして寺社縁起や高僧の伝記絵巻などが多く制作された。
English: What are regarded as the best four picture scrolls in Japan are "Genji Monogatari Emaki," "Shigisan Engi" (legends of Mr. Shigi), "Ban Dainagon Emaki" (illustrated scrolls of the story of a courtier Ban Dainagon) and "Choju Jinbutsu Giga" (scrolls of frolicking animals and humans).
Japanese: 『源氏物語絵巻』・『信貴山縁起』・『伴大納言絵巻』・『鳥獣人物戯画』を、日本の四大絵巻物と称される。
English: Kansuso' (a hand scroll or horizontal scroll) means a binding style of a horizontally long sized scroll of paper (or silk cloths on rare occasions) made up of many rectangular sheets connected side by side in lateral direction, and equipped with a roller on one end of the sheet to wind the whole sheet up on it to store the scroll, and we call various documents, Buddhist sutras, and other paintings, which are made up in this kansuso method of binding, as 'kansubon' or more generally 'makimono.'
Japanese: 紙（まれに絹）を横方向に順次つないで、水平方向に長大な紙面を作り、終端に巻き軸をつけ、収納時には軸を中心にして巻き収めることができるようにした装丁形式を「巻子装」（かんすそう）と言い、このような装丁で作られた書物、経典、絵画作品などを「巻子本」、より一般的には「巻物」という。
English: Kansubon were popularly made and used in China, Korean Peninsula, Japan and other East Asian countries, as well as even in ancient Egypt where some similar examples were reported.
Japanese: 巻子本は中国、朝鮮半島、日本などの東アジアにおいて盛んに作られたほか、古代エジプトなどにも例がある。
English: Emakimono' or 'emaki' means whole pictorial works of kansuso style binding, but, when the term 'emakimono' is used in the history of Japanese art, it is usually understood to indicate mainly the works of yamato-e style paintings made in Japan (a typical Japanese traditional style of painting), or in some cases, the term is often limited to the works produced during the Heian period through to the Muromachi period.
Japanese: 「絵巻物」ないし「絵巻」とは、巻子装の絵画作品の意であるが、日本美術史用語における「絵巻物」とは、日本で制作された、主として大和絵様式の作品を指すのが通常であり、さらに範囲を限定して、平安時代から室町時代の作品に限って「絵巻物」と呼ぶ場合もある。
English: Similar pictorial scrolls of kansuso style painted in China are not called 'emakimono' but 'gakan' or 'zukan,' and also ink paintings by Japanese, such as "Sansui Chokan" (literally, long scroll of landscape scenery) by Sesshu, a ink painter, are usually not called 'emakimono.'
Japanese: 中国で制作された同様の装丁の絵画作品は「画巻」「図巻」等と呼ぶのが普通であり、日本人の作品であっても、水墨画家雪舟の『山水長巻』のような作品については、「絵巻物」とは呼ばないのが普通である。
English: During the Nara period in Japan, some pieces of illustrated scrolls of Buddhist sutras, commonly known as "E Ingakyo" were produced.
Japanese: 日本では、奈良時代に『絵因果経』と通称される絵解き経典が数本制作されている。
English: Each scroll of them has a space divided into two parts, with the lower part having text copies of Buddhist sutra descriptions about Shakyamuni's previous life and his enlightenment as Buddha, and the upper part having pictures corresponding to the descriptions below them.
Japanese: これは、巻物の紙面の下半分には釈迦の前世と成仏について述べた経典の本文を書写し、上半分には経典の内容に対応する絵画を描いたものである。
English: There are two opposing opinions that, on the one hand, "E Ingakyo" is to be regarded as a root of Japanese emakimono (illustrated scrolls), and, on the other hand, it has nothing to do with emakimono produced after the Heian period.
Japanese: 『絵因果経』を日本の絵巻物のルーツだとする見方のある一方で、平安時代以降の絵巻物とは直接の影響関係はないとする見方もある。
English: According to such descriptions written in a volume captioned 'Eawase' (picture contest) in "Genji Monogatari,' many scrolls of illustrated tales may be assumed to have been produced during the beginning and middle Heian period in Japan, but since none of such scrolls are now existing that were produced between the 9th and 11th centuries, we are unable to trace clearly how the styles of illustrated scrolls, of that period, had developed.
Japanese: 『源氏物語』の「絵合（えあわせ）」の巻などを参照すると、日本では平安時代前期～中期にも多くの物語絵が制作されたことが推測されるが、9世紀～11世紀までの絵巻物作品の現存するものは皆無であり、この間、絵巻物の画風がどのような発展過程を経たのかは定かでない。
English: The so called 'the best four picture scrolls' are now ascertained by historical evidence to be works of the 12th century, or the later Heian period, which are "Genji Monogatari Emaki," "Ban Dainagon Ekotoba" (Also known as "Ban Dainagon Emaki"), "Shigisan Engi," and "Choju Jinbutsu Giga" (the exception of two scrolls out of four "Choju Jinbutsu Giga" scrolls that are believed to have been made later in the Kamakura period).
Japanese: 一般に「四大絵巻」と称される『源氏物語絵巻』『伴大納言絵詞』『信貴山縁起』『鳥獣人物戯画』はいずれも平安時代末期、12世紀の作と考証されている（『鳥獣人物戯画』4巻のうち2巻の制作時期は鎌倉時代に降る）。
English: These works are not just the oldest existing illustrated scrolls, but are also appraised as the most valuable works of art.
Japanese: これらの作品は、現存する絵巻物の最古の作品群であるとともに、芸術的にももっとも高く評価されている。
English: The glory days of illustrated scrolls were from the late Heian period to the Kamakura period, while in the Muromachi period there were also lots of illustrated scrolls produced but none could be compared to the aforesaid 'best four picture scrolls.'
Japanese: 平安時代末期～鎌倉時代が絵巻物の全盛期で、室町時代には作品数は多いものの、前記「四大絵巻」に匹敵するような作品は生まれなかった。
English: Also in the modern age, a lot of pictures were painted in the style of emakimono by such artists as Sotatsu TAWARAYA, Tanyu KANO and Matabei IWASA, but these pictures are now often excluded from the category of 'emakimono.'
Japanese: 近世にも巻物形式の絵画は多く制作され、俵屋宗達、狩野探幽、岩佐又兵衛なども巻物形式の作品を残しているが、これらは「絵巻物」の範疇に含めない場合も多い。
English: The word 'emaki' is used in two ways; one is to attach the word at the end of the name of its corresponding mother work, like "Genji Monogatari Emaki" and "Murasaki Shikibu Nikki Emaki" (illustrated scroll of the Lady Murasaki's Diary), and another way is to regard the term of 'emaki' or 'emakimono' as a concept to collectively refer to the pictures painted in kansu (a handscroll or horizontal scroll) style.
Japanese: 「絵巻」という語には、『源氏物語絵巻』『紫式部日記絵巻』のように、作品名に「○○絵巻」と付けて巻子装の作品であることを表す用法と、巻子形式の絵画を総称した概念として「絵巻」ないし「絵巻物」と呼ぶ場合とがある。
English: However, the words of 'emaki' and 'emakimono' came to be used only after the modern age, and according to records written before the medieval period, they were simply expressed with the ending of 'XX-e' (literally, XX's picture).
Japanese: ただし、これらの「絵巻」「絵巻物」の語は、近世になって使われだしたもので、中世以前の記録では単に「○○絵」と呼ばれている。
English: Illustrated scrolls are often titled with endings of '-ekotoba,' '-soshi,' '-eden' and others, like "Heiji Monogatari Ekotoba" (illustrated stories of Heiji Rebellion), "Jigoku Zoshi" (handscrolls depicting Buddhist hell), "Honen Shonin Eden" (illustrated tales of Honen, a Buddhist saint) and so on.
Japanese: 絵巻物の作品名称としては、「○○絵詞（えことば）」「○○草紙」「○○絵伝」等と称するものも多い（例としては『平治物語絵詞』『地獄草紙』『法然上人絵伝』など）。
English: Among them, the word 'ekotoba' is pointed out to have originally meant as 'words for pictures,' namely, sentences corresponding to particular pictures, so that some may claim that '-emaki' is more suitably titled than '-ekotoba.'
Japanese: このうち、「絵詞」とは、「絵の詞」、つまり、ある特定の絵に対応する文章というのが本来の意味であることが指摘されており、「絵詞」よりは「絵巻」の方が作品名として適切であるとの説もある。
English: For example, "Ban Dainagon Emaki" was originally named as "Ban Dainagon Ekotoba" in 1951 when it was designated as a national treasure, but now is called "Ban Dainagon Emaki" at Idemitsu Museum of Arts, the current owner of the subject.
Japanese: たとえば、『伴大納言絵巻』は、1951年に国宝に指定された際の名称は『伴大納言絵詞』であったが、現所有者の出光美術館では『伴大納言絵巻』と呼んでいる。
English: As already explained, emakimono is a painting drawn on a long sheet of paper (or, rarely, a sheet of silk cloth) composed of a number of rectangular sheets connected side by side in the horizontal direction, while those painted on silk include "Ippen Shonin Eden" (illustrated tales of a Buddhist saint, Ippen) and "Kasuga Gongen Kenki Emaki" (illustrated scrolls of miracles of the Kasuga god).
Japanese: 絵巻物は、前述のように紙（まれに絹）を横方向につないだ、長大な紙面に描かれたものである（紙でなく絹に描かれた作品としては『一遍上人絵伝』『春日権現験記絵巻』などがある）。
English: The most popular pattern of emakimono is an alternate appearance of 'e' (picture) and 'kotoba' (text or description), where the preceding 'kotoba' is immediately followed by a corresponding 'e' in ordinary cases (but with rare exceptional cases).
Japanese: 1巻の中に「絵」と「詞」とが交互に現れる形式がもっとも多く、通常は「詞」が先に来て、その直後に、その「詞」に対応する｢絵｣が来る（まれに例外もある）。
English: A series of pictures or texts in an emakimono is counted as one 'dan' (section), and, if an emakimono is said to have 'e 4-dan, kotoba 4-dan' (four sections of picture and four sections of text), it means the picture and text will appear alternately four times.
Japanese: ひと続きの絵、ひと続きの詞を数える単位を「段」といい、絵巻物の説明にたとえば「絵4段、詞4段」とあれば、その絵巻物は絵と詞とが交互に4回ずつ現れるものであることがわかる。
English: At the same time, there were some emakimono created with different patterns than the above, such as "Choju Jinbutsu Giga" which had no text, but pictures only, and "Kegonshu Soshi Eden" (pictorial biographies of the founders of the Kegon sect) that contained 'spoken lines' beside some characters in a scene in addition to 'kotoba.'
Japanese: なお、『鳥獣人物戯画』のように絵のみで詞のない絵巻もあり、『華厳宗祖師絵伝』のように、「詞」とは別に、画中人物のかたわらに「せりふ」を書き込んだものもある。
English: Most emakimono have pictures of more or less 30cm high in full vertical length, but some have even larger pictures with a vertical length of 50cm or more like the Jokyu version of "Kitano Tenjin Engi Emaki" (an illustrated history of Kitano shrine).
Japanese: 画面のサイズは天地が30cm前後のものがもっとも多いが、『北野天神縁起』（承久本）のように、天地が50cmを超える大作もある。
English: There are also some emakimono with smaller pictures of about 15cm high like otogi-zoshi (illustrated short prose narratives of Japan) which are called koe (small pictures).
Japanese: また、室町時代のお伽草紙のように、天地15cmほどの小品もあり、これらは小絵（こえ）と呼ばれている。
English: Overall length, from left to right ends, of emakimono varies very much, with majority length in the vicinity of 10m, but also with such length as 20m per one scroll like "Kokawadera Engi Emaki" (a picture scroll of the legends of Kokawa-dera Temple).
Japanese: 左右の長さ、すなわち巻物全体の長さについてはまちまちで、全長10メートル前後のものが多いが、『粉河寺縁起絵巻』のように1巻で20メートル近い長さのものもある。
English: Each emakimono is completed either in one scroll or in multiple scrolls.
Japanese: 巻数については、1巻のみで完結している作品と、数巻からなる作品とがある。