nntsuzu/KFTT huggingface dataset:
English: Though why the painting was done is not fully understood, it is told that Kinnori UTSUDA, a poet and wealthy merchant, requested the painting at restoration of Kyoto Myoko-ji Temple, and then it was kept in Kennin-ji Temple.
Japanese: 製作の経緯はよくわかっていないが、京都の豪商で歌人であった打它公軌（うつだきんのり）が京都妙光寺再興の際に製作を依頼し、その後建仁寺に渡ったという。
English: It has been considered Sotatsu's crowning work, and it is also his most known painting.
Japanese: 宗達の最高傑作といわれ、宗達と言えばまずこの画が第一に挙げられるほど有名な画である。
English: Moreover, the painting is so famous that someone who does not know Sotatsu may imagine the painting when "Wind God and Thunder God" is mentioned.
Japanese: また、宗達の名を知らずとも、風神・雷神と言えばまずこの画がイメージされるほどの画である。
English: The painting has a brilliant composition, placing the wind god and the thunder god at the very corners of screens to bring a sense of tension.
Japanese: この画は構図が見事で、画面の両端ギリギリに配された風神・雷神が画面全体の緊張感をもたらしている。
English: Moreover, the figures of the wind god with futai (packing) in both hands, and the thunder god with tenko (thunder drams) around are also very original.
Japanese: また、風袋を両手にもつ風神、天鼓をめぐらした雷神の姿も極めて独創的だ。
English: The textures of gold foil, silver paint, sumi, and pigment are employed efficiently, thus it makes us think what excellent color sense the painter had.
Japanese: 金箔、銀泥と墨、顔料の質感が生かされ、画家の優れた色彩感覚を思わせる。
English: Although it is a very famous painting nowadays, it was barely known during the Edo period.
Japanese: 現在では極めて有名な絵であるが、江戸時代にはあまり知られていなかった。
English: The figures of the wind god and the thunder god are not at the very corners of screens, but are placed so that the overall images of the gods may fit into the screens.
Japanese: 風神・雷神の姿が画面ギリギリではなく、神の全体像が画面に入るように配置されている。
English: Two gods look each other in Korin's painting while gods look down to the nether world in Sotatsu's painting.
Japanese: 宗達の画では、両神の視線が下界に向けられているのに対し、光琳の画では両神がお互いを見るように視線が交差している。
English: Although Korin's reproduction is a masterpiece, many viewers think that Sotatsu's work is more powerful because of the differences mentioned above.
Japanese: 光琳の模写も傑作の部類に属するが、上記の相違点により、「宗達の画のほうが迫力がある」という観覧者が多い。
English: It is thought that he considered that Korin's painting was an original, not knowing about Sotatsu's work.
Japanese: 宗達の画を知らず、光琳の画が模写でなく独自に描かれたものとして考えていたと見られている。
English: The association was founded in 1898, in Kyoto Kodai-ji temple, Kyoto by advocacy of Sensho TANAKA who was a disciple of Ennosai, the13th generation of Urasenke.
Japanese: 1898年（明治31年）裏千家13代圓能斎の門人であった田中仙樵の提唱により、京都高台寺に創立された。
English: Sensho TANAKA became a pupil of the Shimizu-ha group of the Sekishu school Toen NOZAKI and spent his time studying kanewari (one theory of tea ceremony) of Namporoku Sumibiki kan (Sumibiki volume of Namporoku).
Japanese: 田中仙樵は石州流清水派の野崎兎園に入門して南方録墨引巻にある曲尺割（かねわり）の研究に取り組む。
English: In 1910, after the death of Koyata TORIO, it was re-established in Asakusa Ward, Tokyo, with the second president Yasuko TORIO who was Koyata's wife.
Japanese: 鳥尾小弥太の没後1910年になってから、小弥太の夫人である鳥尾泰子を第2代会長に迎えて東京市浅草区に再興される。
English: The headquarters has moved several times, and after Sensho TANAKA became the third president in 1930, it relocated to the present location in 1938.
Japanese: 本部は移転を数回繰り返し、田中仙樵が1930年に第3代会長に就任した後、1938年に現在地に移転した。
English: The Toyoakari no sechie festival is the Imperial Court ceremony held on Daijosai (first ceremonial offering of rice by newly-enthroned Emperor), held on the days of the Rabbit, Dragon, Snake, and Horse (note: yuki no sechie (seasonal court banquet) held on the day of the Dragon, and suki no sechie held on the day of the Snake) as well as on the final day of the Niiname-sai festival (ceremonial offering by the Emperor of newly-harvested rice to the deities), held on the days of the Rabbit and Dragon.
Japanese: 豊明節会（とよあかりのせちえ）とは大嘗祭（卯・辰・巳・午の日の4日間：但し、辰の日に悠紀（ゆき）の節会、巳の日に主基（すき）の節会が行われた。）、新嘗祭（卯・辰の日の2日間）の最終日に行われた宮中儀式。
English: It was a kind of banquet in the presence of the Emperor, and shiroki (white sake) and kuroki (black sake) were served.
Japanese: 天皇臨席の、いわば宴席で、白酒（しろき）・黒酒（くろき）が振る舞われた。
English: The Kameoka Matsuri Festival is a reisai (regular festival) of Kuwayama-jinja Shrine that takes place for three days from October 23 to October 25 annually in Kameoka City, Kyoto Prefecture.
Japanese: 亀岡祭（かめおかまつり）は、京都府亀岡市で毎年10月23日から10月25日までの3日間行われる祭で鍬山神社の例祭である。
English: The Shijo School of the Way of the Kitchen Knife ("Shijoryu-Hochodo" in Japanese) is a school of Japanese cuisine which is said to have originated in the Heian period.
Japanese: 四条流庖丁道（しじょうりゅうほうちょうどう）は、平安時代から始まると伝えられる日本料理の流派。
English: The way of the kitchen knife (or the kitchen knife method) is the name given to cooking-related matters such as the art of cooking, its etiquette, and its traditions, and it has as its symbol one of the most frequently used cooking utensils, the kitchen-knife.
Japanese: 庖丁道（庖丁式）とは料理に関する作法・故実や調理法などを最も頻用する調理器具の包丁で象徴した呼び名である。
English: It is said that the the Shijo School was derived from a new kitchen-knife method (cooking manner) which was establisehd by FUJIWARA no Yamakage (Shijo Chunagon, or Shijo Vice-Councilor, 824-888) in accordance with an order given by the Emperor Koko.
Japanese: 四条流の起源は、藤原山蔭（四条中納言、824年-888年）が、光孝天皇の勅命により庖丁式（料理作法）の新式を定めたことに由来すると伝えられている。
English: FUJIWARA no Yamakage is supposed to have been simply designated as an expert well-versed in cooking and manners, since he had nothing to do with the Emperor's dietary office of the Imperial Household Bureau which was in charge of the food served at Court.
Japanese: 朝廷の料理は宮内省に属す内膳司が司っていたが、山蔭は内膳職とは関係がなく、単に料理法や作法に通じた識者として指名されたものか。
English: Since the food custom and recipes introduced from Tang (China) is supposed to have been assimilated and taken root in Japan in the ninth century, the custom and recipes may have been integrated into Yusoku-kojitsu (knowledge of court rules, ceremony, documents and records of the past) by Yamakage.
Japanese: 9世紀の段階で、唐から伝えられた食習慣・調理法が日本風に消化されて定着しつつあったと思われ、それらをまとめて有職故実という形で山蔭が結実させたものであろう。
English: The kitchen-knife method established by Yamakage was handed down as a family profession to the Shijo family which was affililated with the Northern House of the Fujiwara clan, Uona Line and descended from FUJIWARA no Takasue; therefore, the method was called 'Shijo School.'
Japanese: 山蔭の確立した庖丁式は、藤原北家魚名流の藤原隆季を祖とする四条家に家業として伝えられ「四条流」と呼ばれることになる。
English: Since Yamakage is also affililated with the Uona Line (FUJIWARA no Washitori branch) but belongs to a school different from that of the Shijo family (FUJIWARA no Sueshige branch), Yamakage is not a direct ancestor of the Shijo family in the family tree (for further details, also refer to a family tree of each line of the Northern House of the Fujiwara clan).
Japanese: なお、山蔭も魚名流（藤原鷲取系）であるが、四条家（藤原末茂系）とは別流であり、系譜的には直系ではない（詳細は藤原北家の各流系図を参照）。
English: In the middle of the Kamakura period, Motouji SONO who was the third son of Motoie JIMYOIN of the Nakanomikado family and who started the Sono family learned the way of the Shijo School's kitchen-knife and established another school outside that of the Shijo School which was called 'Shijo-Sono school' (or simply Sono school) (Motouji was also well-versed in flower arrangement and originated Aoyama school).
Japanese: 鎌倉時代中期に中御門家持明院基家の三男で園家を興した園基氏が、四条流を学んで別派を興し「四条園流（もしくは単に園流）」と称された（なお基氏は華道にも通じ、青山流を創始している）。
English: In the Muromachi period, - Kimitsugu (Saburozaemon) OKUSA (a master of kitchen-knife (cooker) of Shijo School) who had served the Shogun family of Ashikaga clan established 'Okusa School,' - also, Hatakeyama School started from the Hatakeyama family (detailes unknown), - the origin of Hatakeyama School and everything from its preparation to manners including the recipe, kitchen-knife method, and table manners were transferred to the Shogun's retainer, Jiro SHINJI Saemon no jo (third-ranked officer of the Left Division of Outer Palace Guards) who was to establish the Shinji School, and - branches of Shijo School started to take hold in the cuisine not only in Court noble society but also in Bushi society.
Japanese: 室町時代には足利氏征夷大将軍家に仕えた四条流の庖丁人（料理人）・大草公次（三郎左衛門）が「大草流」起こす、畠山氏（詳細不明）から畠山流も起こる、その畠山流の由来、その仕立て方、庖丁式、食事作法など膳部一切を旗本進士次郎左衛門尉へ伝え進士流が起こる、公家社会のみならず武家社会における料理においても、四条流の分派が浸透しはじめた。
English: When Motoyasu MATSUDAIRA (Ieyasu TOKUGAWA) became ruler of Japan and established the Edo bakufu (Japanese feudal government headed by a shogun), 'Shijo-Sonobe School' was charged with being responsible for the cuisine of the bakufu, since Sonobe Izuminokami (a master of kitchen-knife who had learned in Shijo School) had served the Matsudaira clan of Mikawa Province; consequently, that promoted to prevail Shijo School among domains in the Edo period.
Japanese: また四条流を学んだ園部和泉守という庖丁人が三河国松平氏に仕えていたが、松平元康（徳川家康）が天下人となり江戸幕府を創始すると、「四条園部流」が幕府の台所を預かることとなり、江戸時代には各藩へも普及が進んだ。
English: In the later part of the Muromachi period, "Shjijo School Kitchen-knife Book" was written as a cook book which outlines the way of the kitchen-knife in Shijo School.
Japanese: 室町時代後期、四条流の大意をまとめた料理書として『四条流庖丁書』が書かれている。
English: According to the colophon which reads: 'seal of Tajimi Bungonokami Sadakata confirmed in late February, 1489,' the Shijo School is supposed to have been established around this period.
Japanese: 奥書に「長享三年（1489年）二月下旬多治見備後守貞賢在判」とあり、この時期に成立したと思われる。
English: Since the book contains a description of the ritual of the kitchen-knife method in Shijo School as well as descriptions starting with the naming and size of each place on the cutting board, followed by specific recipes, and decoration methods for chopsticks and eating utensils, it is now considered as a valuable historical source of information on materials and the art of cooking of the Japanese cuisine of those days.
Japanese: 四条流庖丁式の次第が記述され、まな板の名所・寸法などから記載が始まり、続いて具体的な料理法や、箸・膳の飾り方なども記載されており、当時の日本料理の素材や調理法を知る上で貴重な史料となっている。
English: The book introduces a variety of recipes including boiled geese skin, ushioni (boiled in salted water) of goose, fish cakes, grilled poultry (pheasant), sliced raw poultry (pheasant), prawn served on a boat-like plate, salted sea-cucumber entrails, ushioni of sea bream, and marinated jerry fish.
Japanese: 雁の皮煎・潮煎、カマボコ、鳥（雉）の焼き物・刺身、エビの舟盛り、このわた、鯛の潮煮、クラゲの和え物など、多彩な料理が紹介されている。
English: The book also contains many interesting descriptions, one such passage describes Japanese horseradish (wasabi) and salt having to be arranged side by side to accompany sliced raw fish, and vinegar also being a necessity when serving in the Shijo School, and so on.
Japanese: また、四条流では刺身に添えるわさびと塩は接して並べる、酢も添えるべき……など興味深い記述も多い。
English: The Okusa School books of inherited teachings including "Okusa School Cooking Book," "Lecture Notes of Inherited Teachings from Master Okusa," and the like which also survive, all of which are supposed to have been written a little later than the book mentioned above even though the actual creation date is unknown.
Japanese: 分流の大草流の相伝書としても『大草流料理書』『大草殿より相伝の聞書』などがあり、成立年代は不明だが、上記書籍より若干下る時代と思われる。
English: This solemn demonstration of the masterly performance showed skill in handling a kitchen knife, and is considered to be the kitchen knife ceremony of the Shijo School, and has been passed on as the Kitchen Knife Ceremony of Shijo School to this day.
Japanese: 四条流の庖丁儀式とされる、巧みな庖丁さばきによる荘厳な技術披露が現在でも継承され、行われている。
English: The technique which is described as a tradition harking back to a time when FUJIWARA no Yamakage cleaned carp is revived by a performer in a lacquered hat and hitatare (samurai's large square-cut coat with cord laced sleeve edges) cutting and trimming such material as carp, sea bream, and bonito without touching the fish by using only a kitchen-knife and manabashi (type of long chopsticks used in the preparation of fish), which is sometimes dedicated on ritual occasions throughout Japan.
Japanese: 藤原山蔭が鯉をさばいて以来の伝統と言われる技法を烏帽子・直垂をまとった姿で再現し、庖丁と真魚箸（まなばし）のみを用いて、鯉・鯛・鰹などの素材に一切手を触れることなくさばいていくもので、各地の神事などで奉納されることがある。
English: Kyoto Higashiyama Hana Toro refers to a touristic event to herald the arrival of early spring in the middle of March, that about 2400 lanterns, which are made by Kiyomizu ceramics (traditional handicrafts in Kyoto), Kitayamasugi round cedar wood, Kyomei bamboo, stone art and metal art, are lit on the narrow path for about 4.6 km from Shoren-in Temple to Kiyomizu-dera Temple at the foot of Higashiyama mountain range of Kyoto to enjoy an evening walk.
Japanese: 京都・東山花灯路（きょうと・ひがしやまはなとうろ）は、3月中旬に京都の東山(京都府)山麓の青蓮院から清水寺に至る約4.6キロの小路に京都の伝統工芸である清水焼、北山杉、京銘竹、石工、金属などで作られた約2400基の行灯を点し、夜の散策を楽しむ趣向の、早春を告げる観光イベントである。
English: Though Kyoto at night have been known by some people such as local people and hotel guests, different from the daytime with relatively high number of tourists, a narrow path in and around Higashiyama had never been a place to walk except downtown areas, partly because of the limit of opening hours of most temples and shrines.
Japanese: 比較的、観光客の多い日中と異なり、夜の京都は地元や宿泊客などの一部に知られるものの、寺社のほとんどは拝観時間の制限もあり、繁華街を除けば東山周辺の小路などが散策の対象になることは少なかった。
English: This event, having started since 2003, is held only for 10 days, but has been well established as an event where you can enjoy the impression and atmosphere of Kyoto at night, and attracts more than a million people each year.
Japanese: 2003年から始まった当イベントは、わずか10日間ほどではあるが、夜の京都の情緒や雰囲気を味わえるイベントとして定着し、毎年100万人以上の人出で賑わっている。
English: Higashiyama in the early spring is enveloped by a fantastic atmosphere, briefly attracting people, who walk, while seeing some events and various lanterns illuminating faintly their feet on the path, starting from Jingumichi road and Shoren-in Temple in the north, via Chion-in Temple, Maruyama Park, Yasaka-jinja Shrine and Shinkomichi road, viewing Daiun-in Temple Gion-kaku (Kyoto), to Entoku-in, Kodai-ji Temple, Nene no Michi (The Path of Nene), Ichinenzaka slope, Ninenzaka slope, and Kiyomizu-dera Temple.
Japanese: 北は神宮道から青蓮院に始まり、知恩院、円山公園、八坂神社、神幸道などを経由し、大雲院(京都市)祇園閣を眺め圓徳院、高台寺、ねねの道、一年坂、二年坂から清水寺までの行路の足元を仄かに照らすさまざまな行灯や催し物を見ながら歩く人々の群れで、早春の東山はしばし賑わい、幻想的な色合いに包まれる。
English: 1. Lighting hours of the path of light and flowers (walking path from Shoren-in to Kiyomizu-dera Temple): 6:00 PM to 9:30 PM
Japanese: 1．灯りと花の路（青蓮院から清水寺の散策路）点灯時間午後6時～午後9時30分
English: Lighting up (the temples and shrines below are lit up and have special admission during the event)
Japanese: ライトアップ（以下の各寺社では期間中、特別拝観とライトアップが行われる）
English: 鏑矢 (Kaburaya: in rare cases, written as 蕪矢) is the name of an arrow with kabura (to be described later) installed at the end of zoku; the top of an arrow head.
Japanese: 鏑矢（かぶらや：希に蕪矢とも書く）は矢の先端、鏃の根元に位置する形で鏑（後述）を取り付けられた矢の名称。
English: Kaburaya was already described (Hogen Monogatari; the Tale of the Hogen War) in Kamakura period, and the name of Kaburaya was not fixed early on; its origin and when it began to be used is unknown.
Japanese: 鎌倉時代には既に記述が見られる（保元物語）が、初期の頃は名称も定まっておらず起源、いつ頃から使われていたのかは解っていない。
English: It varied in size from small to large; around 5 - 20 cm, and also varied in its detailed shape; its basic shape was cylindrical shape, conical shape, or fusiform shape.
Japanese: 大きさは全長で5cm前後から20cm前後まで大小様々で、円筒形、円錐形、或は紡錘形を基本とし、詳細な形状は一様ではない。
English: To fix Kabura to an arrow, pull the yano from the base through to the top, and fix it by putting zoku (an arrowhead) on the tip.
Japanese: 矢への取り付けは基部から先端まで矢箆を貫通させ、先端から鏃を挿して固定する。
English: It is hollow; and usually wrapped with thread at a few points, fixed, and finished with lacquer so that it won't crack.
Japanese: 中身が刳り貫かれており中空構造になっており、通常は割れが生じないよう数カ所糸で巻き締め固定し、仕上げに漆で塗り固めてある。
English: It is made of easy-to-process light wood such as ho, paulownia; even deer horn or bamboo roots were once used.
Japanese: 材質は朴や桐など軽量で加工性の良い木材、かつては鹿角や竹根も用いられた。
English: (Hikime: also written as 引目) was Kabura mentioned above with a few holes, and it was fixed by nails after pulling yano from the top through to the bottom in the same way as for Kabura.
Japanese: （ひきめ：引目とも書く）とは上記鏑に数カ所の穴を開けたもので、鏑と同様に矢箆を上下に貫通させ、釘上のもので固定する。
English: Releasing an arrow with Hikime mounted on the tip lets air flow into the holes, producing an acute sound like a flute.
Japanese: これを矢の先端に取り付けた矢を放つと穴に空気が流入する事で笛のように音が鳴り、鋭い音を発する。
English: (Jinto: also written as 矢頭) was different from Kabura, however, since they are somewhat similar in their appearance, Jinto was often confused with Kabura.
Japanese: （じんとう：矢頭とも書く）は厳密には鏑とは別物だが、外見が鏑と似ている為、しばしば鏑と混同されがちである。
English: It has existed from ancient times, it is quite similar to Kabura, but it is not hollow, and is smaller than Kabura.
Japanese: 古くから存在し、鏑に良く似ているが、中身が刳り貫かれておらず、また大きさも鏑より小さい。
English: It varied in size and in shape; from a fusiform to conical shapes; it is made of light or hard lumber, and dried seaweed roots were used in ancient times.
Japanese: 紡錘形から円錐形まで形状・大きさとも一様ではなく、材質は軽量、硬質な木材など、古くは海藻の根を乾燥させたものが使用された。
English: It is fixed to the tip of an arrow instead of Zoku, and it was used to protect a target from having a scratch, or in other words, used to crush a target.
Japanese: 鏃の代わりに矢に取り付け、射中てるものを傷を付けないよう、若しくは射砕く目的で使用される。
English: In the Medieval Period, including an arrow with Kaburaya combined along with regular arrows in the ebira (quiver) as uwazashiya was typical.
Japanese: 中世は鏑矢を一手（ひとて）を普通の矢と共に箙に盛り上差矢（うわざしや）とするのが作法であった。
English: Nowadays, it is used in rituals that succeed ancient customs such as yabusame (archery on horseback), and it is also regarded as lucky, and is well known as Kazariya (decorative arrow) that removes negative vibes.
Japanese: 現在では流鏑馬など故実の祭礼式などで使用され、また飾り矢として邪を払う縁起の良いものとして親しまれている。
English: It is intended to remove negative vibes and to purify a place by the sound of Hikime without using Zoku, and it is used in rites and festivals and in Shinto rituals.
Japanese: 鏃を付けず、蟇目の出す音で邪を払い場を清める事を目的とし、祭礼神事で使われる。
English: In ancient times, Hikimeya were shot at turning points of a life; on a baby's birthday for praying for the baby's growth; on entering into a birth room for praying for an unborn baby's health; Hikimeya was shot over the roof of a house when moving into the house in order to remove negative vibes and to drive off evil spirits;
Japanese: 古くは誕生蟇目・産屋の引目・射越の引目などと称し、胎児の健康、成長祈願や家屋の屋根を越えるように蟇目矢を放ち邪を払い魔を退散させるなどした。
English: "Hikime-no-Gi" (Hikime ceremony) in the Ogasawara school has been conducted until the present day, and it takes place in Shimogamo-jinja Shrine, Sumiyoshitaisha Shrine, and in the opening ceremony of Ichibu kyudo taikai (Japanese archery tournament).
Japanese: 現在では小笠原流に『蟇目の儀』が伝わっており、下賀茂神社や住吉大社、一部弓道大会の開会などで行われている。
English: In the Medieval Period, it was carried with regular arrows in ebira (quiver) as uwazashiya, and it was shot to inform someone far by its sound as a signal for the same side or for the starting a battle.
Japanese: 中世は上差矢として通常の矢と共に箙に盛って携行し、合戦の始めや味方への合図を出す際にこれを放ち、音を出して遠くに伝えた。
English: It has been used in practice for kasagake (horseback archery competition), yabusame (archery on horseback), inuoumono (dog-hunting event, skill of archery) since ancient times, and it was used as a target arrow in early times.
Japanese: 古くから笠懸、流鏑馬、犬追物など稽古用に使用され、初期の頃は的矢としても用いられた。
English: Now it is used in rituals that succeed ancient customs such as yabusame (archery on horseback) that has succeeded to the Takeda or Ogasawara schools.
Japanese: 現在は武田流、小笠原流に伝わる流鏑馬など、故実の祭礼式などで使用されている。
English: Kinu is a story of a bird with three legs in the sun; it refers to the bird (kau) and the sun.
Japanese: 金烏（きんう）は、太陽に三本足の烏がいるという伝説であり、すなわちその烏（火烏）、ないし太陽の異称である。
English: Yatagarasu (a big Japanese mythological crow) is related to the Kinu story, and it is a story with the motif of a crow in the sun (mainly a crow), that was seen around the world.
Japanese: 八咫烏は金烏伝説と少なからず関連しており、太陽にトリ（主にカラス）のモチーフは世界中で散見される伝説である。
English: The enshrined deity, Kamo Taketsunumi no mikoto in Shimogamo-jinja Shrine is an incarnation of yatagarasu, and he guided the Emperor Jinmu by turning himself into a golden kite (also called yatagarasu) under the ordinance of Amaterasu Omikami (the Sun Goddess) and Takamimusubi at the time of Jimmu tosei (the first generation of the Imperial family).
Japanese: 下鴨神社の祭神賀茂建角身命は八咫烏の化身であり、神武東征に際し太陽神天照大神とタカミムスビの令をうけ、金鵄（金色のトビ。八咫烏とも）に化身して神武天皇を先導したという。
English: According to the Nihonshoki (Chronicles of Japan), Arima-Onsen Hot Spring that is said to have existed since the age of the gods, was discovered when Onamuchi no mikoto and Sukunahikona no Mikoto saw that three injured birds were cured after those birds went into the water.
Japanese: 神代よりあるという有馬温泉は、日本書紀に大巳貴命と少彦名命が傷ついた3鳥が水に浸かり傷が治る姿をみて温泉を発見したとある。
English: According to the story the number of birds was similar to the number of yatagarasu, therefore the three birds might have been yatagarasu.
Japanese: 3羽とあるがこれは足の数と類似し、本来は八咫烏であった可能性がある。
English: The bronze ware (called seidoshinju) unearthed from Sanseitai-iseki Remains in the region of Chinese Chang Jiang Culture has nine birds representing suns perching on a tree, and according to ancient mythology, the eight birds were already dead and the last bird which represented the current sun was almost dead (offerings were already made).
Japanese: 中国長江文明では、三星堆遺跡から出土した青銅器（青銅神樹と呼ばれる）には木に止まる太陽を模した9羽の鳥があり、上古神話では鳥は8羽が既に死んでおり現在の太陽は最後の1羽だが既に瀕死であるという（故に供物を捧げた）。
English: In "Sengaikyo" (oldest topography of China), the tree top the birds were perching on was `fusang' (pictorial motifs), and the tree was the `god tree', and the upper branch is where the ninth sun is to perch while the lower branch was for the first sun which was about to come out, which identified an inconsistency between them.
Japanese: 『山海経』には鳥の止まるこずえは「扶桑」と、木は「神樹」として登場するが、下の枝は9の太陽が留まるところとされ上の枝は1つの太陽が今まさに出んとするものであるとあり、若干のズレがある。
English: Since some trunks in the unearthed bronze ware were not restored, another bird might have been there.
Japanese: 出土した青銅器には復元できなかった幹があるので、そこにもう一羽の鳥があるのかもしれないという。
English: The features of Gosyodoki are that things often appeared in dynastic style literature including "Tale of Genji" or Noh such as an ox-drawn coach, a fan, a fence are laid out in seasonal flowers that are delicately described in detail.
Japanese: 四季の草花を細かく密に表し、その間に御所車や扇、垣など『源氏物語』等の王朝文学や能に頻出する事物を配するのが特徴。
English: Since the pattern mentioned above reminds us of Heian period literature, it can be determined to be named after Meiji period.
Japanese: 上記のように柄行きが平安時代の文学を思い浮かべさせるような物になっていたことから、明治時代以降に名付けられた物である。
English: Because of its name, it is often mistaken as Kimono that court noble ladies wore (as described in History), in fact it is not.
Japanese: 名前からよく誤解されるが公家の女性が着用していた着物の文様ではない（歴史にて詳述）。
English: However, in some books or magazines that describe traditional Japanese clothing, clothes worn by a court noble lady was described as `Goshodoki,' while clothes worn by a lady from Samurai society (original `Goshodoki') was described as `Edodoki-pattern'; thus, the definition of Goshodoki is still confusing.
Japanese: ところが、和服を解説した書籍や雑誌によっては、公家女性が着用した着物を「御所解」、武家女性が着用した着物（本来の「御所解」）を「江戸解」と説明しているため、未だに呼称は混乱している。
English: (As for the difference between Kimono for a court noble lady and Kimono for a lady from Samurai society, refer to the section of `Social position shown in sleeve length.'
Japanese: （公家女性と武家女性の着物の差異については「小袖小袖の身分差」の項目を参照。）
English: When a wardrobe system for ladies for Samurai society was established in the latter half of the Edo period, Gosyodoki was especially favored by goten jochu (palace maids) that held a high rank.
Japanese: 江戸時代後期に武家婦人の衣服制度が定まったときに、特に高位の御殿女中の着物の文様として好まれた物である。
English: As previously prescribed, the education about Heian literature or Noh was required to select a pattern of Kimono; Gosyodoki was especially favored as `A thing to represent dignity of a lady from Samurai society.'
Japanese: 柄行きの選定には先述のように平安文学や能に関する素養が要求されたため、「武家女性の品格の高さを表す物」として特に好まれた物と思われる。
English: At that time, the main patterns were embroidered, and additional patterns were dyed by means of Yuzen (a dying technique), therefore, it wasn't available for common women who were not allowed to wear elaborate embroidered Kimono.
Japanese: 当時は主な文様は刺繍、補助的に友禅等の染めで文様を表していたため、身分制度で刺繍技法の着物が着用できなかった庶民にはとても手の届く物ではなかった。
English: The patterns of those Kimono were controlled under strict rules, ladies from Samurai society fully utilized their education and added some flavors of their own to the Kimono such as slightly changing the position of patterns, etc.
Japanese: これらの着物の文様は、厳格に決まりがあったとはいえ、武家女性は教養の限りを尽くして文様の位置を微妙に変えたりなどの工夫をしていた。
English: This is because guessing which story was described as a theme in the patterns of the Kimono tested one's education.
Japanese: その柄行きから着物がどの物語を主題としているのを当てるのも教養の内だったからである。