nntsuzu/KFTT huggingface dataset:
English: In Kyo language, there are many patterns creating new nouns from other word classes, like 'dadako' which is made from 'dadawo koneru ko' (a child who throws a terrible tantrum).
Japanese: また、「駄々をこねる子」のことを「ダダコ」と表現したりと、別の品詞から名詞を作り出して用いるパターンが多い。
English: As well, some nouns (mainly concerned to a daily life) are modified to 'o...' and 'o... san (han)' to be used in the following ways:
Japanese: また、名詞（主に生活に関するもの）に関して用いられる「お～」や「お～さん（はん）」があり、以下のように利用される。
English: Kyo language uses many rhetorical techniques (onomatopoeia) to compose an element of rhythmic structure.
Japanese: 京言葉では修辞技法（オノマトペ）を多用し、リズム感を構成する一因となっている。
English: Also many mimetic words are used like 'gunnari' (literally, 'limb'), 'chinmari' (literally, 'very small') and so on, which have 'n' at the second syllable and 'ri' at the fourth syllable as in the word 'hannari.'
Japanese: また、「はんなり」のような2音節目に「ん」、4音節目に「り」を持つ擬態語（「ぐんなり」、「ちんまり」など）が多く存在する。
English: Though the word 'hannari' originates from 'flower,' it means humble and pretty appearances rather than 'flamboyant' ones.
Japanese: 「はんなり」の語源は「花」であるが、これはけばけばしい「華やかさ」を表しているわけではなく、つつましく可憐な様子を表す。
English: Kitayama region, located approximately 20 km northwest of downtown Kyoto, which is currently the area around Nakagawa, Kita Ward, Kyoto City, was a prosperous source of Kitayama sugi.
Japanese: 特に、京都市街の西北約20kmに位置する北山地方、現在の京都市北区(京都市)中川を中心とする地域は、北山杉の産地として栄えた。
English: The Nakagawa area was positioned as "Kugonin," who presented products to the Kyoto Imperial Palace, together with the neighboring Ono-sho (present day Ono-go, Kita Ward, Kyoto City) and Umegabatake-sho (present day Takao, Ukyo Ward, Kyoto City), and have produced and sold polished logs and similar materials since ancient times.
Japanese: 中川地域は隣接する小野庄（現在の京都市北区小野郷）や梅ヶ畑庄（現在の京都市右京区高雄）とともに京都御所に産物を献上する「供御人」としての地位を授かって古来より磨丸太類の生産、販売を行った。
English: In the Muromachi period, the polished logs produced in the Nakagawa region came to be frequently used as building material for a tea rooms and sukiya, which support the "chano yu" culture completed by SEN no Rikyu.
Japanese: 室町時代、中川地域の磨丸太は千利休により完成された「茶の湯」文化を支える茶室や数奇屋の建築用材として頻繁に用いられるようになった。
English: It is said that polished logs produced in the Nakagawa region had been sold not only in Kyoto City, but also all around the Kansai area from the Edo period to the Meiji era.
Japanese: 江戸時代から明治時代にかけて、中川地域の磨丸太は京都市内はもちろん関西一円に販売されていたらしい。
English: The demand for polished logs produced in the Nakagawa area peaked when the spectacular modern sukiya buildings designed by famous architects including Isoya YOSHIDA and Kazuo SHINOHARA had emerged after World War II.
Japanese: 第二次世界大戦後、吉田五十八や篠原一男らをはじめとする著名な建築家たちによる近代数奇屋建築が華々しく登場するなか、中川地域の磨丸太の需要は絶頂に達する。
English: Taking advantage of the boom in modern sukiya buildings, the plantation of cedar for polished logs was spread to Keihoku-cho, Yagi-cho, and Hiyoshi-cho of Kyoto Prefecture around that time.
Japanese: 近代数奇屋建築ブームに乗って、京都府の京北町、八木町、日吉町(京都府)にまで磨丸太育林が波及したのもこの頃。
English: Against this background, the logs produced in the Nakagawa area and Takao, Takaga-mine, and Ono-go are called "Jiyama maruta," which means locally produced logs, and those from Keihoku-cho and other towns are called "Tanba-mono," called Tanba products.
Japanese: このような背景の中で中川を中心に高雄、鷹ヶ峰、小野郷を含めた地域からの丸太は「地山丸太」、京北町等からの丸太は「丹波物」と呼ばれるようになる。
English: The three portraits of Jingo-ji Temple are three portraits owned by Kyoto Jingo-ji Temple.
Japanese: 神護寺三像（じんごじさんぞう）は、京都神護寺が所蔵する三幅の肖像画。
English: As "Color painting on silk, MINAMOTO no Yoritomo's portrait, unconfirmed, TAIRA no Shigemori's portrait, unconfirmed, and FUJIWARA no Mitsuyoshi's portrait, unconfirmed," were designated as National Treasures in 1951.
Japanese: 「絹本着色伝源頼朝像、伝平重盛像、伝藤原光能像」として1951年（昭和26）に国宝の指定を受けた。
English: The portrait of MINAMOTO no Yoritomo is drawn facing right, the portrait of TAIRA no Shigemori is facing left, and the portrait of FUJIWARA no Mitsuyoshi is facing left.
Japanese: 伝源頼朝像は右向き、伝平重盛像は左向き、伝藤原光能像は左向きである。
English: Each wear sokutai, a formal court dress, and a hair pin type sword, which means the three in the portraits are high nobilities at least Shii (Fourth Rank) and are military officers according to the studies in ancient court and military practices and usage.
Japanese: いずれも束帯を着用し、毛抜型太刀を佩用していることから、有職故実的な検討から三像とも四位以上の公卿であり、武官であることが判明している。
English: They are recognized as one of the portrait masterpieces in Japanese art history for their excellent realistic and artistic qualities.
Japanese: その写実性・芸術性の高さから日本美術史上最高傑作の肖像画の一つとされている。
English: They are sometimes classified as the famous items of nise-e, a Kamakura period realistic portraiture of courtiers and warriors painted in the yamato-e (Japanese picture) style; however, they are not exactly nise-e which is a small portrait.
Japanese: 似絵の名品とされることもあるが、厳密には、小型の肖像である似絵ではない。
English: The artists seem to try to draw not only the appearance, but also the inner side of the figures; it is supposed that they were influenced by Southern Sung Chinese painting.
Japanese: 単に外見のみならず人物の内面を描こうとしている様子がうかがえ、中国南宋画の影響を受けたものと考えられている。
English: In Japan, the portrait of MINAMOTO no Yoritomo is highly appreciated for its successful depiction of the strong will and fortitude of the figure.
Japanese: 日本では特に像主の強い意志と剛健さが感じられる伝源頼朝像の評価が高い。
English: The portrait of TAIRA no Shigemori is highly valued in Europe, and it had been to France and exhibited at Louvre Museum in exchange for Venus de Milo and Mona Lisa.
Japanese: 伝平重盛像はヨーロッパで高評価を受けており、ミロのヴィーナスやモナ・リザと引き換えに渡仏しルーブル美術館で展示されたこともある。
English: The portrait of FUJIWARA no Mitsuyoshi shows a distinctive difference compared with the other portraits stated above in its description of the figure.
Japanese: 伝藤原光能像は、前二像と比べると人物表現などの面で明瞭な差異がある。
English: According to a popular theory, they are recognized as portraits of MINAMOTO no Yoritomo, TAIRA no Shigemori, and FUJIWARA no Mitsuyoshi, and reported that they were drawn by the famous nise-e painter FUJIWARA no Takanobu, who lived at the end of 12th century; however, a new theory was announced in 1995 that they are the portraits of Tadayoshi ASHIKAGA, Takauji ASHIKAGA, and Yoshiakira ASHIKAGA; the identification of the figures and the timing of drawing have been controversial since then.
Japanese: 通説では、国宝名称にあるように源頼朝・平重盛・藤原光能の肖像画とされ、12世紀末の似絵の名手藤原隆信の作とされていたが、1995年（平成7）に足利直義・足利尊氏・足利義詮の肖像画であるとする新説が発表され、以後、像主・成立時期などをめぐって論争が続いている。
English: In the process of controversy, it was confirmed that the portraits were drawn at least after the death of FUJIWARA no Takanobu in 1205, and a theory which defines Takanobu as the producer of these three portraits had already been denied both in the popular theory and the new theory.
Japanese: なお、論争の過程で、三像の成立は早くとも藤原隆信の死(1205年)以降であることが明らかとなっており、隆信を三像作者とする説は、通説・新説いずれからも既に否定された。
English: However, some supporters of the popular theory claim that the three portraits were drawn based upon an original drawing drawn by Takanobu.
Japanese: ただし、通説支持者から三像は隆信が描いた原画を元に作成されたとする説も出されている。
English: These three drawings have no credit, and there is no description that clarifies the identifications of the figures of the portraits on the drawings.
Japanese: 三幅の画には賛などは書かれておらず、画自体に像主を明示する記述は何もない。
English: However, "Jingo-ji Temple ryakki" (a journal of Jingo-ji Temple), written around the period of the Northern and Southern Courts (in the middle of the 14th century) described that Jingo-ji Temple had the portraits including Goshirakawain, TAIRA no Shigemori, MINAMOTO no Yoritomo, FUJIWARA no Mitsuyoshi, and TAIRA no Narifusa and they were drawn by FUJIWARA no Takanobu; this was the clue to judge the figures as TAIRA no Shigemori, MINAMOTO no Yoritomo, and FUJIWARA no Mitsuyoshi.
Japanese: しかし、南北朝時代(日本)初め（14世紀中葉）頃に成立したとされる『神護寺略記』に、「神護寺には後白河院、平重盛、源頼朝、藤原光能、平業房等の肖像があり、それらは藤原隆信の作品である」との内容の記述があり、これが、三幅の像主を平重盛、源頼朝、藤原光能に比定する根拠となった。
English: A portrait of MINAMOTO no Yoritomo which is in the possession of the British Museum with a credit of the portrait of Yoritomo obviously copied the unconfirmed portraits of MINAMOTO no Yoritomo in Jingo-ji Temple; the period of drawing is regarded from the period of the Northern and Southern Courts to the Muromachi period, and it strongly supported the popular theory.
Japanese: また、明らかに神護寺伝源頼朝像を模写して描かれた大英博物館所蔵の源頼朝像には、賛に頼朝像との明記があり、成立時期が南北朝期-室町期と目されることから、通説を補強する有力な根拠となっていた。
English: The feature of the three portraits, including the unconfirmed portrait of Yoritomo, is its exquisite and realistic drawing style, and it has been evaluated that such style was established when the influence of a realistic portrait style flourished in the Sung China period came to Japan at the end of the 12th century.
Japanese: 三像は、伝頼朝像を筆頭として精緻で写実的な画風が特徴的であり、中国宋代に隆盛した写実的な肖像画の影響が12世紀末の日本に伝わって成立したものと評価されてきた。
English: There was also a tentative theory which assumed the period of drawing of the three portraits as the end of Kamakura period to the period of the Northern and Southern Courts in the 14th century based on the detailed examination of the drawing (the theory claimed by Toyomune MINAMOTO and Kiyoka SAKURAI); however, the popular theory stated above had been believed without any doubt until the middle of 1990s.
Japanese: こうした通説に対し、画の詳細な検討から三像の成立を14世紀の鎌倉末期-南北朝期に求める仮説も出されていた（源豊宗、櫻井清香らの所説）が、1990年代半ばまで上記のような通説は疑いの余地のないものと考えられてきた。
English: In 1995, Michio YONEKURA, an art historian (belonged to Tokyo National Research Institute of Cultural Properties at that time), announced a new theory that the portrait of MINAMOTO no Yoritomo, unconfirmed was a portrait of Tadayoshi ASHIKAGA.
Japanese: 1995年、美術史家の米倉迪夫（当時東京国立文化財研究所）により、伝源頼朝像は足利直義像であるとする新説が発表された。
English: Besides, "Tadayoshi ASHIKAGA's vow" as of April 23, 1345 also strongly supports the new theory.
Japanese: 新説のさらなる強い論拠となっているのが、康永4年（1345年）4月23日の日付の『足利直義願文』である。
English: This vow was written for Jingo-ji Temple by Tadayoshi ASHIKAGA, and it described that he (Tadayoshi) enshrines the figures of Shogun (Takauji ASHIKAGA) and himself in Jingo-ji Temple to make a Buddhist connection.
Japanese: 同願文は足利直義が神護寺にあてて発出したもので、「自分（直義）は結縁のため征夷将軍（足利尊氏）と自分の影像を神護寺に安置する」との内容を持つ。
English: Normally an upper ranking person is placed to the right side and a lower rank is to the left when two persons are seen in a portrait so that Yonekura argued based upon this vow that the left facing TAIRA no Shigemori is Takauji ASHIKAGA and the right facing MINAMOTO no Yoritomo is ASHIKAGA Tadayoshi.
Japanese: この願文を元に、通常2人の肖像が並立する場合、右に上位者、左に下位者を配置することなどを根拠として、米倉は左向きの伝平重盛像が足利尊氏、右向きの伝源頼朝像が足利直義であることを論証した。
English: The portrait of FUJIWARA no Mitsuyoshi, unconfirmed, which is facing left similarly to the portrait of Shigemori, unconfirmed, is supposed to be Yoshiakira ASHIKAGA.
Japanese: また、伝重盛像と同じ左向きの伝藤原光能像は、新説では足利義詮に比定されている。
English: Yonekura indicated an evidence that the appearance of the Yoshiakira ASHIKAGA's wooden figure which is in the possession of Kyoto Jito-in Temple is very similar to the features of the portrait of FUJIWARA no Mitsuyoshi, unconfirmed; on the other hand, Kuroda shows his Yoshiakira theory based on a political view point.
Japanese: 米倉は、京都等持院所蔵の足利義詮木像の風貌が伝藤原光能像と酷似していることを論拠としているが、他方、黒田は政治史的観点に基づく義詮説を提示している。
English: For several years from 1345, the government experienced a duarchy by Takauji and Tadayoshi; however, their relationship had broken down from the Kanno Incident; when Tadayoshi beat Takauji in 1951, Takauji retired from the front lines of politics once and Tadayoshi chose Yoshiakira, the son of Takauji, as his partner and started the new duarchy.
Japanese: 1345年から数年間は尊氏・直義の二頭政治が行われたが、観応の擾乱で両者の関係が崩壊し、観応2年に直義が尊氏に勝利すると、尊氏は一旦政治の第一線から退き、直義は尊氏の子・義詮をパートナーに選び、新たな二頭政治を開始した。
English: Kuroda claimed that the portrait of Yoshiakira (the portrait of Mitsuyoshi, unconfirmed) was newly drawn as an alternative of the portrait of Takauji (the portrait of Shigemori, unconfirmed) at that time, and the huge damage and the wrinkle of the fold on the portrait of Takauji means that it was folded when the portrait of Yoshiakira was drawn.
Japanese: 黒田は、この時に尊氏像（伝重盛像）の代替として新たに義詮像（伝光能像）が描かれたのであり、尊氏像に見られる大きな欠損や折りジワは、義詮像が描かれた際に尊氏像が折り畳まれていたことを示すものだとした。
English: Moreover, Kuroda also pointed out that the portrait of MINAMOTO no Yoritomo at the British Museum, which was one of the evidences supporting the popular theory, was drawn after the mid Edo period (the 18th century) based on the credit.
Japanese: さらに、通説の根拠の一つであった大英博物館本源頼朝像についても、その賛の内容などから江戸中期（18世紀）以降の成立であることが黒田によって示された。
English: The effect of some evidence for the popular theory became invalid due to the indication of the new theory claimed by Yonekura and Kuroda as stated above, and it had been controversial significantly between the popular theory and the new theory.
Japanese: 以上の米倉・黒田らによる新説の提示により、通説はその論拠のいくつかを失い、以降、通説と新説の間で大きな論争が続くこととなった。
English: The new theory claimed by Yonekura and Kuroda has been supported mainly by historians and junior art historians.
Japanese: 米倉・黒田の新説は、主に歴史学者および若手美術史家の支持を受けている。
English: When Yonekura considered the portrait of Shigemori, unconfirmed as Takauji ASHIKAGA and the portrait of Mitsuyoshi, unconfirmed as Yoshiakira ASHIKAGA, he pointed out the similarity in appearance of the wooden figures of Takauji and Yoshiakira handed down in Toji-in Temple as one of his evidences; however, Shinichi MIYAJIMA, an art historian, criticized that the similarity in appearance could not be an evidence of identifying the portraits because it is not always true to identify the portrait based on the similarity in appearance in case of portraits in Japan.
Japanese: 米倉は、伝重盛像を足利尊氏、伝光能像を足利義詮に比定する際、等持院に伝わる尊氏木像・義詮木像との外見類似性を論拠の一つに挙げているが、美術史学者の宮島新一は、日本の肖像画は必ずしも外見の類似から像主を判断できないため、外見類似性を像主決定の論拠とすることを批判した。
English: Yoshikazu KONDO, an expert on the decorum and records of the past, authenticated the costumes and armor of the three portraits in detail, and claimed that these three portraits could be drawn in the first period of the 13th century.
Japanese: 故実家の近藤好和は、三像の衣装・武具を綿密に考証し、三像の成立が13世紀前期まで遡りうることを示している。
English: Besides, the three portraits were drawn in a method of back coloring, which colors a picture from the reverse side of a silk; it is pointed out that this method is distinctive from the Heian period to the early Kamakura period.
Japanese: また、三像には絹の裏側から彩色する裏彩色が施されており、これは平安期-鎌倉初期に特徴的な技法であるとの指摘もなされている。
English: On the other hand, the weakness of the evidence for the popular theory was also revealed; the three portraits are just considered as Yoritomo, Shigemori, and Mitsuyoshi without any objective evidence to identify the figures of these portraits.
Japanese: この一方で、新説の提示によって、三像それぞれの像主を判断する客観的根拠もなく頼朝・重盛・光能がとりあえず比定されているなど、通説の論拠の薄弱さも浮き彫りとなった。
English: Throughout the controversy, portraits have actively been reexamined from various aspects in Japan, and this subject gave an important opportunity to review the portraits in Japan.
Japanese: 論争を通じて、日本における肖像画に対する多方面からの再検討が非常に活発化しており、この論争は日本の肖像画を改めて見直す重要な契機となっている。
English: The new theory has been strongly supported generally for its clear logic; however, in terms of art history, they are taking a drawing style which is seen in the late Heian period to the early Kamakura period, that could not be a drawing in the period of Northern and Southern Courts, and it is repeatedly claimed that there is no positive evidence to consider that these three portraits were done in the period of Northern and Southern Courts; there has been a significant gap between these theories and the controversy has not yet been concluded.
Japanese: 一般的には、論理の明解さから新説を支持する意見が多いとされるが、美術史の立場からは、三像の画風が平安後期-鎌倉初期のものであり、様式から見て南北朝期のものとは言い難く、三像の成立を南北朝期まで下らせる積極的理由のないことが繰り返し強調されるなど、両者間の断絶は大きく、論争の終結はまだ見込まれていない。
English: "Uji cha" is a high-class brand of Japanese tea with the image of being produced in the southern area of Kyoto Prefecture around Uji City.
Japanese: 宇治茶（うじちゃ）は、宇治市を中心とする京都府南部地域で生産されるとイメージされている日本茶の高級ブランド。
English: It is considered to have been produced since the Kamakura period, and in the Muromachi period, tea gardens were established by the powerful military commanders of the Muromachi bakufu (Japanese feudal government headed by a shogun) including the Shogun family.
Japanese: 鎌倉時代から生産されていたと考えられ、室町時代には将軍家をはじめ室町幕府の有力武将により茶園が設けられた。
English: In the Sengoku period (Period of Warring States), its position as high-class tea representing Japan was consolidated by the ooishita chaen (covered tea garden), and in the Edo period, the tea pot journey to present Uji cha to the Edo Shogunate was seen marching on the streets from Uji to Edo.
Japanese: 戦国時代(日本)には覆下茶園により日本を代表する高級茶の地位を固め、江戸時代には江戸幕府に献上されるお茶壷道中が宇治から江戸までの道中を練り歩いた。
English: Tea stalls stand side by side on Uji bridge street and Byodo-in street in the center of Uji City, where tourists are often seen having tea.
Japanese: 宇治市中心部の宇治橋通りや平等院通りには茶店が軒を連ね、観光客が一服している光景がよく見られる。
English: Generally it has the image as 'tea of Uji,' but recently the area of tea gardens in Uji has decreased along with urbanization of Uji City, and Uji City has a membership to 'National Tea Summit' imposing a condition of 'having tea gardens of 100ha in area in the municipality,' as an exception despite having tea gardens of only about 80ha.
Japanese: 一般的に「宇治のお茶」とイメージされているが、近年は宇治市内の都市化に伴い茶園の面積は減少し、「自治体内に100haの茶園面積を有すること」が条件となっている「全国茶サミット」には、市内の茶園面積が80haほどでありながらも特例でメンバーとなっている。
English: Currently, the major production areas of 'Uji cha' in Kyoto Prefecture are neighboring regions including Wazuka-cho, Soraku-gun, and Minami Yamashiro-mura, Soraku-gun, and Ujitawara-cho, Tsuzuki-gun.
Japanese: 現在、京都府内における「宇治茶」の主産地は、相楽郡和束町、同南山城村、綴喜郡宇治田原町などの周辺地域である。
English: In an extreme case, 'tea leaves only from Mie Prefecture' can be 'Uji cha' only if they are processed in Kyoto Prefecture, and on the contrary, those processed outside Kyoto Prefecture cannot be sold as 'Uji cha' even though they are produced in Kyoto Prefecture.
Japanese: これは極端なことをいえば「三重県産茶葉のみ」でも京都府内で仕上げ加工すれば「宇治茶」となりうることを示しており、逆に京都府外で加工されたものは京都府内産茶葉でも「宇治茶」として売ることができない。
English: This is a very convenient standard only for tea distributors in Kyoto Prefecture.
Japanese: これは京都府内の茶販売業者だけにとって非常に都合のいい基準だといえる。
English: However, other production areas belonging to the Central Association of the Japan Tea Industry, the main association for Japanese tea industry, define 'unfinished tea production areas (Shizuoka Prefecture produce for Shizuoka cha, for example)' when calling so-and-so tea, so, such a definition of Uji cha has caused controversy.
Japanese: しかし、全国の茶業者の中心団体日本茶業中央会に所属する他の産地が○○茶という場合、「荒茶生産地（静岡茶なら静岡県産）」と定義しているなか、そうした宇治茶の定義のあり方が議論を呼んでいる。
English: They are made from Sugukina, a variant of turnip, and they are one of the few remaining fermented pickles in Japan.
Japanese: カブの変種である酸茎菜（すぐきな、すぐきかぶらともいう）を原材料とする、現代の日本では数の少ない発酵漬物である。
English: They are traditional Kyoto pickles and, along with 'Shibazuke' (salted chopped pickled vegetables) and 'Senmaizuke' (pickled sliced radishes), they are known as one of the three major pickles.
Japanese: 京都の伝統的な漬物であり、「柴漬」、「千枚漬」と並んで京都の三大漬物と言われている。
English: Sugukina are said to have first been cultivated at Kamowakeikazuchi-jinja Shrine (Also known as Kamigamo-jinja Shrine) in Kita-ku Ward, Kyoto City.
Japanese: 酸茎菜は、京都市北区(京都市)の賀茂別雷神社（上賀茂神社）で栽培したのが発祥とされている。
English: They were first recorded over three hundred years ago in the 'Hinami-kiji' (a guidebook of annual events in Kyoto and the surrounding area) (in 1667) and also appear in numerous botanical texts and poems.
Japanese: 約300余年前の「日次紀事」（1667年）への記載をはじめ、数々の本草書、詩文などにその名前が載っている。
English: In the Meiji period, their cultivation spread to ordinary farmers, who started to sell them.
Japanese: 明治の時代になりその栽培が一般農家にも広がり、販売されるようになった。
English: Since ancient times, the cultivation and production of Sugukina have been limited to the delta between the Kamo-gawa River (Yodo-gawa water system) and the Takano-gawa River (Kyoto City) to the east and west, with Midorogaike Pond at the northern end, and only Sugukina grown there are called 'Suguki.'
Japanese: 古来、酸茎菜の栽培と生産は、東西を鴨川(淀川水系)と高野川(京都市)にはさまれた三角州の中で、北端を深泥池とする地区に限られ、ここで生育されたものだけが「すぐき」と名が付けられる。
English: During the main pickling stage, the pickles are squeezed using a unique method known as 'tenbin oshi,' where a 4- to 5-meter-long pole, with one end fixed and a stone weight hung on the other, pushes down on the lid of the barrel containing the pickles.
Japanese: 本漬時の重石のかけ方は、独特の「天秤押し」というやり方で、長さ4～5mほどの丸太棒の一方を固定させ、もう一方の先に重石を下げて樽のフタを押さえる、「テコの原理」を利用した方法で行う。
English: Within about a month after harvesting, the Suguki pickles, turned yellowish brown by lactic fermentation, are ready.
Japanese: 収穫してから約一月程度の期間で乳酸発酵したあめ色のすぐきが完成する。
English: The Sugukina harvest continues until the turn of the year, and the year's pickling is completed by the end of February.
Japanese: 酸茎菜の収穫は年明けまで続き、2月末ごろにはその年の漬け込みは終了する。
English: They are a seasonal Kyoto pickle, best eaten in the cold of winter when you can see your breath.
Japanese: 冬に息の見える頃が、最もおいしい期間である旬の京つけものの一つである。
English: Jikonare' is a technique where the pickles, after the main pickling stage, are placed under the eaves of a house and fermented at natural temperatures.
Japanese: 時候熟れとは、収穫して本漬したすぐきを家の軒下に置き、自然の気温で発酵させる技法である。
English: When produced using the jikonare technique, they are ready to eat by spring to early summer.
Japanese: この時候熟れの技法で生産すると、すぐきの食べごろは春から初夏になる。
English: Daigo no Hanami refers to the blossom-viewing party held in grand style at Daigo-ji Temple in Kyoto on April 20, 1598 by Hideyoshi TOYOTOMI with about 1,300 people, including feudal lords and their vassals, as well as his family members such as Hideyori TOYOTOMI, Kodaiin and Yodo-dono.
Japanese: 醍醐の花見（だいごのはなみ）とは、慶長3年3月15日(旧暦)（1598年4月20日）に豊臣秀吉が京都の醍醐寺において、豊臣秀頼、高台院、淀殿ら近親の者を初めとして、諸大名からその配下の者など約1300名を従えて盛大に催した花見の宴である。
English: The order of palanquins is also recorded, which shows Kita no mandokoro in the first place, Yodo-dono in the second, Tatsuko KYOGOKU in the third, Sannomaru-dono in the fourth, Princess Mahime in the fifth, followed by Hoshunin (the legal wife of Toshiie MAEDA), who was not Hideyoshi's concubine, but whom he had known for long.
Japanese: その日の輿の順も記録に残されており、一番目に北政所、二番目に淀殿、三番目に京極竜子、四番目に三の丸殿、五番目に摩阿姫、その後に側室ではないものの長くつき合いのある芳春院（前田利家正室）が続いた。
English: It is known that at the party, Yodo-dono and Matsunomaru-dono fought about who would accept a cup after Hideyoshi's legal wife, Kita no mandokoro, and Hoshunin took the control of the situation well.
Japanese: 宴会の席では、正室である北政所の次に杯を受けるのを淀殿と松の丸殿が争い、芳春院がその場をうまく取りおさめたという話が伝わっている。
English: Jugo Gien, the eightieth head priest and chief restorer of Daigo-ji Temple, which had been deserted since the Onin War, had a good relationship with Hideyoshi TOYOTOMI, overseeing his entry into the priesthood, and since he felt that Hideyoshi was near the end of his life, he quietly made arrangements for the Daigo no Hanami so that the greatest hero of the age would have an appropriate stage.
Japanese: 応仁の乱のあと荒れ果てていた醍醐寺を復興した中興の祖、第80代座主である義演准后は、豊臣秀吉の帰依を得て良好な関係を築いていたが、秀吉の最期が近いことを感じ取り、一代の華美な英雄の最後にふさわしい大舞台をしつらえるために、あちこちにそれとなく手配をしてこの醍醐の花見を催させたともいう。
English: While presenting varied gifts and attractions from all over the country, the feudal lords were already maneuvering and sounding each other out, both in secret and in the open, about how the government should be run following Hideyoshi's death.
Japanese: 古今東西の多彩な献上品やアトラクションが供せられる一方で、諸大名のあいだではすでに秀吉亡き後の政権のあり方について、陰に陽にさまざまな駆け引きや腹の探りあいがあったという。
English: Even now, Daigo-ji Temple holds 'Hotaiko Hanami Gyoretsu' (Hideyoshi TOYOTOMI's procession to view blossoms) on the second Sunday of April each year, based on this event.
Japanese: 醍醐寺では、現在でもこれにちなんで毎年4月の第2日曜日に「豊太閤花見行列」を催している。
English: Oban, in the general meaning, is a large-sized oval gold coin among noshikin (flattened by a hammer or roller, that was made of unprocessed gold) made after the 16th century in Japan.
Japanese: 大判（おおばん）とは、広義には16世紀以降の日本において生産された延金（のしきん：槌やローラで薄く広げた金塊）の内、楕円形で大型のものをいう。
English: It is said that the beginning of standardized oban gold coins were those produced by the Goto family (metal work in Kyoto) under the order of Hideyoshi in 1588.
Japanese: 金貨として規格化されたものは、天正16年（1588年）秀吉の命で後藤家（京金工）が製造したのが始まりとされる。
English: After that, the Goto family (mainly of Kyoto) had produced oban under instructions of the person in power at the time up to 1862.
Japanese: 以後時の権力者の命により文久2年（1862年）まで後藤家（主に京都）が製造し続けた。
English: Although ryome (a weighed value) was consistently 10 Ryo (44 monme, approximately 165g) except for those made after 1860, a carat (content of gold) fluctuated over time.
Japanese: 量目（重量）は、万延年間（1860年）以降に製造されたものを除き、10両（44匁、約165グラム）で一貫しているが、品位（純金含有量）は、時代により変化している。