nntsuzu/KFTT huggingface dataset:
English: Specifically, the craftsman makes subtle changes to the temperature depending on the baking stage by putting a suitable amount of firewood through the Oguchi at the lowest baking chamber and the Koguchi on each baking chamber.
Japanese: 具体的には一番下の大口と各焼成室に設けられた小口からの投薪を使い分け、焼成段階に分けて微妙に温度調整を施す。
English: After finishing the initial roast stage, a preparatory stage aimed at drying out the ware, the temperature inside the kiln is gradually raised by putting firewood through the Oguchi at the full-scale roast stage.
Japanese: 水分を飛ばすための予備段階である焙りを終えた後の本焙りでは大口に薪を投入し、ゆっくりと窯の温度を上げていく。
English: If you watch the ware through the observation hatch at this stage, you will see the heated wares change to a clear orange color.
Japanese: この際に、のぞき窓から見ると焼き物は熱せられて透明感のあるオレンジ色になる。
English: As shown in the saying "Baked ware should be cooled for as long as it took to be baked," baked ware has to be removed from the kiln carefully.
Japanese: 窯出しは「焚いた時間と同じだけ時間をかけて冷ます」などといわれるように慎重が期される。
English: Caution needs to be exercised especially when large-sized ware is removed as it might be cracked due to the rapid temperature loss during the procedure.
Japanese: 特に大型のものなどは窯出しによる急速な冷却により割れることもあり注意が必要である。
English: Unlike Renboshiki-noborigama, the flue gases (flame) in Anagama go straight through the kiln and since there are no convection currents, the position of ware relative to the fire and the amount of ash coating produce patterns and colors that even craftsmen cannot anticipate, resulting in tasteful pieces of which it is said no two are the same.
Japanese: とりわけ穴窯は燃焼ガス（炎）が窯内を直進し、連房式登窯とは違い、窯内で対流が無い為、火のあたり加減と灰のかかり具合によって作者も予期しない模様や色に焼きあがるため、味があり、同じものは決して二つとしてできないといわれている。
English: The organic and delicate finish, characteristic of pottery baked in a climbing kiln, is referred to as "Keshiki" (lit. scenery).
Japanese: 登り窯を使って焼かれた陶器独特の有機的かつ微妙な仕上がり具合は「景色」と表現されることもある。
English: The Noborigama was established using geographical features at the end of the Momoyama period after about 400 years of Anagama use, and there remain around sixty potteries.
Japanese: 約400年の長きにわたって窖窯時代が続いた後、桃山時代末期に至り自然の地形を利用した登り窯が築かれ、現在も約60軒の窯元が残る。
English: One of the "Six Old Kilns of Japan," where pottery including jars, pots and mortars (suribachi) have been produced using Anagama since around the end of the Middle Ages.
Japanese: 日本六古窯のひとつであり、中世末期頃より窖窯によって壺、甕、擂鉢などの焼き物づくりが始められた。
English: This area also produced many chaki (implements used in Japanese tea ceremony) in early-modern times, and was a major manufacturer of ceramic lamps at the end of the Edo period.
Japanese: 近世では茶器も多くつくられ、幕末には陶器製灯明具の一大産地であった。
English: One of the "Six Old Kilns of Japan," where pottery including jars, pots and mortars (suribachi) have been produced using Anagama since around the end of the Middle Ages.
Japanese: 日本六古窯のひとつであり、中世より窖窯によって壺、甕、擂鉢、硯などの焼き物づくりが始められた。
English: When "Karatsu" is written in Chinese characters, it means 'a Port leading to China.'
Japanese: 唐津市とは「唐」へ至る「津」、すなわち「中国へ続く港」という意味である。
English: This area manufactured lots of ware for daily use such as jars, pots, plates and sake bottles in the Muromachi and Momoyama periods.
Japanese: 室町時代から桃山時代にかけて壺、甕、皿、徳利などの日用品を多く産出したのが始まりといわれる。
English: The birth of Naraoka ware dates back to 1863, when Seiji KOMATSU, a member of an old local family, invited a potter of the Terauchi ware style to construct a kiln.
Japanese: 1863年（文久3年）に地元旧家の小松清治が、寺内焼の陶工を招き窯を作らせたのが始まりといわれる。
English: Suzuhiko-hime (literally, Princess Bells) is one of Japanese yokai (ghosts, spirits and monsters) that was portrayed in Sekien TORIYAMA's yokai art collection book: "Gazu Hyakki Tsurezure Bukuro" (The Illustrated Bag of One Hundred Random Demons; the term 'hyakki' in its title is a pun on the usual hyakki, replacing the character for demon which is written as "鬼" in Japanese with a character for vessel written as "器," and sure enough, most of the yokais shown in this book are tsukumogami [a type of Japanese spirits that originate in items or artifacts that have reached their 100th birthday and become alive]).
Japanese: 鈴彦姫（すずひこひめ）は、鳥山石燕の『画図百器徒然袋』にある日本の妖怪。
English: According to expository writing in the "Hyakki Tsurezure Bukuro," bells were once used in Japan as ritual implements to call a divine spirit.
Japanese: 『画図百器徒然袋』中の解説文では、かつての日本で鈴が神霊を下ろすための祭具として用いられていたことが述べられている。
English: It also refers to Amenouzume who succeeded to lure Amaterasu Omikami (the Sun Goddess) out of the Ama no iwato (Cave of heaven) in Japanese Mythology.
Japanese: また、日本神話で天岩戸に隠れた際に天照大神を引き出したアメノウズメのことが述べられている。
English: Suzuhikohime is a yokai which may have been transmuted from the bells to call a divine spirit, or she was supposedly created based on the theme of 'summoning the deities' common to the above two examples.
Japanese: 鈴彦姫は神霊を下ろす鈴が化けた妖怪、または前述の2つの共通するテーマである「神を引き出す」をもとに創作された妖怪と推測されている。
English: Nyunaisuzume (Russet Sparrow) or Sanekatasuzume is a mysterious bird appearing in legend of FUJIWARA no Sanekata, a poet in the Heian period.
Japanese: 入内雀（にゅうないすずめ）または実方雀（さねかたすずめ）とは、平安時代の歌人である藤原実方の伝承にある怪鳥。
English: However, when Fujiwara no Yukinari backbit Sanekata, he disputed with Yukinari in the court and took Yukinari's crown and threw it away.
Japanese: しかし、藤原行成に陰口を叩かれたために殿上で行成と口論になり、行成の冠を奪って投げ捨てた。
English: Sanekata was dead in Mutsu, having a grudge against backstabbers for relegating him and a nostalgia for Kyoto.
Japanese: 実方はこの仕打ちへの怨みと京都への想いを募らせつつ、失意の内に陸奥で没した。
English: Rumor had it that every morning one sparrow entered the Seiryoden Chamber of the Dairi (Imperial Palace) in Kyoto, and it ate up cooked rice on daiban (a table on which food was served) in a split second.
Japanese: 毎朝、京都の内裏の清涼殿へ1羽のスズメが入り込み、台盤（食事を盛る台）の飯をついばんであっという間に平らげてしまうというのである。
English: People thought that a deep-seated grudge of Sanekata wishing to return Kyoto should have transformed into the sparrow, or the soul of Sanekata had possessed the sparrow.
Japanese: 人々はこれを、京に帰りたい一心の実方の怨念が雀と化した、もしくは実方の霊が雀に憑いたといった。
English: They called the sparrow "Nyunai-suzume" (literally, dairi entering sparrow) or "Sanekata-suzume" (literally, Sanekata sparrow).
Japanese: 内裏に侵入する雀であることから「入内雀」、または「実方雀」と呼んだ。
English: The sparrow said that he was Sanekata having transmuted into a sparrow to come back to Kyoto and asked for chanting a sutra for him.
Japanese: 自らを京恋しさに雀と化してやって来た実方だと名乗り、自分のために誦経するようにと告げたのである。
English: He was convinced that it should be the remains of Sanekata and built a mound to perform a memorial service for his soul.
Japanese: 上人は、実方の変わり果てた姿に違いないと考え、霊を弔うために塚を築いた。
English: Afterwards, the Kangakuin was renamed Kyoshaku-ji Temple (commonly known as Suzume-dera Temple), and the temple is now relocated in Sakyo Ward, Kyoto City.
Japanese: 後に勧学院は更雀寺（俗称・雀寺）と改名し、現在では京都の左京区に場所を移している。
English: Its property has gradually been diminished due to several fires, and the vestige of the original Kangakuin has been fading.
Japanese: 火災が続いたこともあって規模は次第に縮小化され、もとの勧学院の面影は薄れつつある。
English: However, the mound that is called Suzumezuka still exists, and the memorial service is still continually held for Sanekata today.
Japanese: しかし、前述の塚は雀塚と呼ばれて現存しており、現在でもなお実方のための供養が続けられている。
English: Birds and insects which migrate seasonally and on a regular basis are frequently identified as human souls, and therefore, one theory has it that Russet (or Cinnamon) Sparrows which actually breed in Tohoku region in summer, migrate all over the country and damage agricultural products in autumn would probably be associated with the incarnation of Sanekata who had been relegated to Tohoku.
Japanese: 一定の時期に来訪する鳥や昆虫は人間の霊魂と同一視されることが多く、実在するニュウナイスズメは夏季に東北地方で繁殖し、秋季に全国に渡来して農作物に被害をもたらすことから、これが東北に左遷された実方の化身だと想像されたとの説もある。
English: Heiroku is one of Japanese yokai (ghosts, spirits and monsters) that was portrayed in Sekien TORIYAMA's yokai art collection book: "Hyakki Tsurezure Bukuro" (The Bag of One Hundred Random Demons; the term 'hyakki' in its title is a pun on the usual hyakki, replacing the character for demon which is written as "鬼" in Japanese with a character for vessel written as "器," and sure enough, most of the yokais shown in this book are tsukumogami [a type of Japanese spirits that originate in items or artifacts that have reached their 100th birthday and become alive]).
Japanese: 幣六（へいろく）は、鳥山石燕の妖怪画集『百器徒然袋』にある日本の妖怪。
English: It is portrayed as a strange yokai brandishing a gohei (wooden Shinto ritual wand with a pair of white zigzag paper streamers), and it is regarded as a tsukumogami.
Japanese: 御幣を振りかざした異形の妖怪として描かれており、付喪神の一つとされる。
English: According to some researchers including Shigeru MIZUKI, yokai cartoonist, 'Heiroku is a yokai which brandishes a Kotobure paper (a piece of paper with a handwritten message), claiming it an oracle, and spreads false rumors to confuse people.'
Japanese: 妖怪漫画家・水木しげるらは、「事触れの紙を振りかざし、ご神託と称してデマを流し、人々を混乱に陥れる妖怪」としている。
English: Kenji MURAKAMI, a yokai investigator, has insisted that the Heiroku should be modeled on a red ogre-like yokai that holds the gohei which is depicted in "Hyakki yagyo emaki" (a Night Parade of One Hundred Demons' picture scroll) of the Muromachi period.
Japanese: 妖怪探訪家・村上健司は、室町時代の『百鬼夜行絵巻』にも御幣を持つ赤鬼のような妖怪があり、これがモデルである、との説を展開している。
English: Burabura is a lantern specter and one of Japanese yokai (ghosts, spirits and monsters) that was portrayed in Sekien TORIYAMA's yokai art collection book: "Hyakki Tsurezure Bukuro" (The Bag of One Hundred Random Demons; the term 'hyakki' in its title is a pun on the usual hyakki, replacing the character for demon which is written as "鬼" in Japanese with a character for vessel written as "器," and sure enough, most of the yokais shown in this book are tsukumogami [a type of Japanese spirits that originate in items or artifacts that have reached their 100th birthday and become alive]).
Japanese: 不落不落、不落々々（ぶらぶら）は、鳥山石燕の妖怪画集『百器徒然袋』に描かれている日本の妖怪の一種で、提灯の妖怪。
English: According to Sekien's commentary in the "Hyakki Tsurezure Bukuro," the Burabura looks like a lantern light, however, it is actually believed to be a Kitsune-bi (a Japanese will-o'-the-wisp).
Japanese: 『百器徒然袋』中にある石燕の解説文によれば、外観は提灯の火だが、実体は狐火とされている。
English: However, the lantern yokai has often been reported not as a Chochin Obake (literally, lantern ghost) but as a fire of mysterious or suspicious origin, such as the kitsune-bi and chochin-bi (lantern light).
Japanese: しかし提灯お化けのような妖怪ではなく、狐火や提灯火のような怪火として伝承されていることが多い。
English: Since it is portrayed as a yokai of items and artifacts, some say that it should not be considered as a kitsune-bi yokai as described in the commentary but as a variation of the so-called Chochin Obake.
Japanese: 器物の妖怪として描かれていることから、解説文のような狐火の妖怪ではなく、俗にいう提灯お化けの一種と見なす方が妥当とする意見もある。
English: Hone-karakasa (literally, an oil-paper umbrella with a bamboo frame, the oil paper of which is gone) is one of Japanese yokai (ghosts, spirits and monsters) that was portrayed in Sekien TORIYAMA's yokai art collection book: "Hyakki Tsurezure Bukuro" (The Bag of One Hundred Random Demons; the term 'hyakki' in its title is a pun on the usual hyakki, replacing the character for demon which is written as "鬼" in Japanese with a character for vessel written as "器," and sure enough, most of the yokais shown in this book are tsukumogami [a type of Japanese spirits that originate in items or artifacts that have reached their 100th birthday and become alive]).
Japanese: 骨傘（ほねからかさ）は、鳥山石燕の『百器徒然袋』に描かれる日本の妖怪。
English: An old karakasa whose oil paper is gone and only ribs remain is portrayed flying in the air like a bird.
Japanese: 傘布が剥がれて骨ばかりとなった古い唐傘が、鳥のように宙を舞う姿で描かれている。
English: According to a yokai cartoonist named Shigeru MIZUKI, temperature and moisture affect an old karakasa by causing it to transmute into this yokai and dance.
Japanese: 妖怪漫画家・水木しげるの説によれば、古びた傘が温度と湿り気によってこの妖怪となり、踊りだすともいう。
English: This Karakasa is likewise related to the rain, and that may be the reason it takes the form like this; thus have I wondered in my dreams.'
Japanese: 「このからかさも雨のゑんによりてかかる形をあらはせしにやと夢のうちにおもひぬ」
English: The shifun (or shibi are ornamental tiles often seen atop the tiled ridgepoles of castles, placed as ornamentation and fire prevention) is thought to be a prototype of shachihoko (mythical carp with the head of a lion and the body of a fish, which are auspicious protectors of well-being) and regarded as charms to bring the rain for fire prevention.
Japanese: 鴟吻（鴟尾）は日本における鯱の原型とされ、雨を呼ぶ火災よけの呪物とされている。
English: Game Archive Project, also known as GAP, was inaugurated in 1998, by Kyoto Prefecture as a leasing body and other organizations.
Japanese: ゲームアーカイブ・プロジェクト（GameArchiveProject、略称GAP）は、京都府を中心に1998年に発足した。
English: The project advocates 'an establishment of video games archive for human resource development and utilization of the archive.'
Japanese: 「人材育成を目的としたテレビゲームのアーカイブ構築とその活用」を標榜する。
English: Its objective is to collect information on computer games and to compile a database of computer games, which is a collaborative effort among industry, government and academia.
Japanese: 産業、官業、学業の産官学が協力して進めているコンピューター・ゲームの情報収集、データベース化を目的としたプロジェクトである。
English: Incidentally, the project is barely related to 'Game Archives' by Sony Computer Entertainment Inc., which distributes Playstation software in Playstation stores although their names are similar and confusing.
Japanese: なお、名前が似て紛らわしいがソニー・コンピュータエンタテイメントがプレイステーションストアでプレイステーションソフトを配信している「ゲームアーカイブス」とはほぼ無関係。
English: The project started as Kyoto Research Park Corp. entrusted the research to Ritsumeikan University in April, 1998 under the coordination of Kyoto Prefecture.
Japanese: 京都府のコーディネートのもと、京都リサーチパーク株式会社が立命館大学に研究委任する形で1998年4月にスタートした。
English: In addition, Ritsumeikan University is closely related to game industry since they have welcomed Masayuki UEMURA, former Nintendo engineer, and Akihiro SAITO, known for his GAME-NICS theory, as professors.
Japanese: なお、立命館大学では元任天堂の上村雅之氏や、ゲームニクス理論のサイトウアキヒロ氏を教授に迎えるなど、非常にゲーム業界とは関わり深い大学である。
English: From the game industry, Nintendo and Sega Enterprises, Ltd. (present-day SEGA) have cooperated in the project by offering a large amount of hardware and software information.
Japanese: ゲーム業界からは任天堂とセガ・エンタープライゼス（現セガ）が協力しており、ソフト、ハードの情報を多く提供している。
English: The purpose of this project is to collect data, such as titles, abbreviated names, brands or makers, release dates, prices, copyright notices and models (but no data of details of game software per se), and to store the product of research on video games, making the contents open.
Japanese: タイトル、略称、発売ブランドメーカー名、発売日価格、著作権表示、機種、（ゲームソフトの内容自体のデータは含まれない）等のデータを収集し、それらをオープンコンテンツにしてテレビゲームに関する研究成果を備蓄することが目的である。
English: Moreover, the project gropes for relevance among game, society and education, and holds symposiums.
Japanese: また、ゲームと社会、教育などの関連性も模索しており、シンポジウムの開催なども行う。
English: Yoshihiko SHIRAKURA (1940 -) is a researcher and a writer on Ukiyoe (Japanese woodblock prints).
Japanese: 白倉敬彦（しらくらよしひこ、1940年-）は、浮世絵研究家、文筆家。
English: With the "Ukiyoe Shunga o Yomu" (A reading of erotic Ukiyoe) published in 2000 as a beginning, he has written many books on Shunga (erotic Ukiyoe) and a red-light district of the early-modern period in collaboration with Yuko TANAKA.
Japanese: 2000年の『浮世絵春画を読む』以来、田中優子との協同作業で春画や近世遊里に関する著作が多い。
English: Although "Geisha to Asobi" (Geisha and professional entertainment) is a work of Yuko TANAKA, it describes that half was written by Yoshihiko SHIRAKURA.
Japanese: 田中の『芸者と遊び』は田中著となっているが、中に、半分は白倉が書いた、とある。
English: In the "Ukiyoe Shunga o Yomu," he opposes Timon SCREECH's opinion by saying, 'Shunga is not pornography;' however, he was criticized that his definition of pornography was vague.
Japanese: 『浮世絵春画を読む』で、タイモン・スクリーチの説に反論し「春画はポルノグラフィーではない」と主張したが、ポルノグラフィーの定義が曖昧だと批判を受けた。
English: In his next book, "Edo no Shunga" (Erotic Ukiyoe of the Edo period), he describes that he couldn't care less whether Shunga is pornography or not.
Japanese: 次の『江戸の春画』では、ポルノグラフィーかどうかには興味がない、と書いた。
English: On September 9, 2007, he appeared on the TV program, "Tamori Club" ('It must have been eye-poppig for Ieyasu TOKUGAWA! Life of ordinary people was full of sexual energy! Edo people's bedroom rules').
Japanese: 2007年9月8日に放送された『タモリ倶楽部』（「徳川家康もビックリ！庶民はお盛んだった！！江戸人の夜のしきたり」）に出演した。
English: In Sekien TORIYAMA's "Hyakki Tsurezure Bukuro" (The Bag of One Hundred Random Demons; the term 'hyakki' in its title is a pun on the usual hyakki, replacing the character for demon which is written as "鬼" in Japanese with a character for vessel written as "器," and sure enough, most of the yokais shown in this book are the tsukumogami), it is portrayed as an ogre who prizes a karabitsu (Chinese-style chest) open.
Japanese: 鳥山石燕の『百器徒然袋』には、唐櫃をこじ開ける鬼の姿で描かれている。
English: Moreover, there is a similar picture of the ogre who prizes a karabitsu open in the "Hyakki yagyo emaki" ('Night Parade of One Hundred Demons' picture scroll) of the Muromachi period.
Japanese: また、室町時代の『百鬼夜行絵巻』にも同じく唐櫃をこじ開ける鬼の絵がある。
English: In addition, the 72nd chapter of "Tsurezuregusa" (Essays in Idleness) says: 'The things that are not unsightly even if there are too many are books on fuguruma (a small cart with shafts, used for carrying books) and waste in chirizuka (dust heap).'
Japanese: また『徒然草』第72段に「多くて見苦しからぬは、文車の文、塵塚の塵」という一文がある。
English: Since much content of the "Hyakki Tsurezure Bukuro" is based on the "Hyakki yagyo emaki" and "Tsurezuregusa," the Chirizuka-kaio is also allegedly a Sekien's creation based on these books.
Japanese: 『百器徒然袋』には『百鬼夜行絵巻』や『徒然草』をもとにしたものが多いことから、この塵塚怪王もそれらをもとに石燕が創作したものといわれる。
English: Further, the above-cited 'books on fuguruma' passage is also the source of creation for 'Fuguruma-yobi' introduced in the "Hyakki Tsurezure Bukuro."
Japanese: また前述の「文車の文」の箇所からは、同じく『百器徒然袋』の「文車妖妃」が創作されている。
English: Kurayaro (literally, saddle guy) is one of Japanese yokai (ghosts, spirits and monsters) that was portrayed in Sekien TORIYAMA's yokai art collection book: "Hyakki Tsurezure Bukuro" (The Bag of One Hundred Random Demons; the term 'hyakki' in its title is a pun on the usual hyakki, replacing the character for demon which is written as "鬼" in Japanese with a character for vessel written as "器," and sure enough, most of the yokais shown in this book are tsukumogami [a type of Japanese spirits that originate in items or artifacts that have reached their 100th birthday and become alive]) and is a yokai of horse saddles.
Japanese: 鞍野郎（くらやろう）は、鳥山石燕の妖怪画集『百器徒然袋』にある日本の妖怪の一つで、馬具の鞍の妖怪。
English: According to the commentary of "Hyakki Tsurezure Bukuro" containing the description of '保元の夜軍に鎌田政清、手がらをなせしも我ゆへなれば、いかなる恩もたぶべきに、手がたをつけんと前輪のあたりつけらるれば、気も魂もきえぎえとなりしとおしみて唄ふ声、いとおもしろく夢のうちにおもいぬ,' it is regarded that the specter was transmuted from the saddle of Masakiyo KAMATA's horse; Masakiyo, a vassal of the Minamoto clan, was plotted to be killed with his lord.
Japanese: 『百器徒然袋』の解説文に「保元の夜軍に鎌田政清、手がらをなせしも我ゆへなれば、いかなる恩もたぶべきに、手がたをつけんと前輪のあたりつけらるれば、気も魂もきえぎえとなりしとおしみて唄ふ声、いとおもしろく夢のうちにおもいぬ」とあることから、策略によって主君共々殺害された源氏の家臣・鎌田政清が使用していた馬の鞍が変化して生まれた妖怪とされる。
English: In the picture, as if the saddle is possessed by the deep-seated grudge of murdered Masakiyo, a hand-like cord of the saddle holds a bamboo stick.
Japanese: 画図では殺害された政清の怨念が鞍に取り憑いているかのように、鞍の紐の一部が手のように竹棒を握っている。
English: Furu-utsubo or Utsubo is a Japanese yokai (ghosts, spirits and monsters) portrayed in Sekien TORIYAMA's yokai art collection book named "Hyakki Tsurezure Bukuro" (The Bag of One Hundred Random Demons; the term 'hyakki' in its title is a pun on the usual hyakki, replacing the character for demon which is written as "鬼" in Japanese with a character for vessel written as "器," and sure enough, most of the yokais shown in this book are tsukumogami [a type of Japanese spirits that originate in items or artifacts that have reached their 100th birthday and become alive]).
Japanese: 古空穂（ふるうつぼ）または空穂（うつぼ）とは、鳥山石燕の妖怪画集『百器徒然袋』にある日本の妖怪。
English: According to the expository writing of "Hyakki Tsurezure Bukuro," the 'Furu-utsubo' (an old quiver) used to belong to Yoshiaki MIURA who shot yakan (Buddhist legendary animals, which initially referred to jackals in India and later foxes in Japan) in Nasunogahara fields.
Japanese: 『百器徒然袋』の解説文によれば、この「古空穂」は元は那須野ヶ原で野干を射たという三浦義明の空穂だったとある。
English: It is said that the yokai 'Furu-utubo' is one of the tsukumogami which was transmuted from the Miura no suke's quiver and started to move around like a beast.
Japanese: その三浦介の空穂が付喪神と化し、獣のように動き回るようになったものが、妖怪の古空穂とされる。
English: Together with Kazusa (no suke) (deputy governor of Kazusa Province) Hirotsune, Miura no suke allegedly shot down a nine-tailed fox in Nasunogahara.
Japanese: 三浦介は上総（介）広常とともに那須野ヶ原で九尾の狐を仕留めたといわれる。
English: Some say that his quiver turned into yokai because his past glory had been forgotten as time passed.
Japanese: 歳月を経たことでかつての栄光を忘れられたため、空穂が妖怪と化したとする説がある。
English: Generally, arrow quivers were made of lacquered bamboo, but some of them had fur or feathers applied inside.
Japanese: また、矢入れの空穂は多くは漆塗りの竹が用いられるが、中には毛皮や羽毛の貼られたものもある。
English: One theory has it that items including animal body parts are more prone to transmuting into tsukumogami.
Japanese: そのような動物製のものの方がこのような付喪神になりやすいとする説もある。
English: Kutsu-tsura (literally, shoe cheek) is one of Japanese yokai (ghosts, spirits and monsters) that was portrayed in Sekien TORIYAMA's yokai art collection book: "Hyakki Tsurezure Bukuro" (The Bag of One Hundred Random Demons; the term 'hyakki' in its title is a pun on the usual hyakki, replacing the character for demon which is written as "鬼" in Japanese with a character for vessel written as "器," and sure enough, most of the yokais shown in this book are tsukumogami [a type of Japanese spirits that originate in items or artifacts that have reached their 100th birthday and become alive])
Japanese: 沓頬（くつつら）は、鳥山石燕による妖怪画集『百器徒然袋』にある日本の妖怪。
English: The two figures are portrayed, one of which is a hairy animal-like yokai transmuted from a kutsu (shoe) while the other is a human-like figure transmuted from a kanmuri (courtier's cap).
Japanese: 沓（靴）が毛むくじゃらの動物のような姿に化けた妖怪と、冠が化けた人間のような姿の妖怪の2体が描かれている。
English: It is said that the kutsu yokai (shoe specter) steals gourds from gourd fields while the kanmuri yokai (courtier's cap specter) steals plums from plum trees.
Japanese: 沓の妖怪の方は瓜の畑で瓜を盗み、冠の妖怪の方は李の木の下で李を盗むとされる。
English: This is based on a proverb, "Rika no Kanmuri, Kaden no Kutsu" (literally, lifting a courtier's cap under the plum tree, and stepping into the gourd field, which is a Chinese counterpart of "Be careful not to invite the least suspicion"), which is also included in the Chinese book "Monzen" (ancient Chinese poems).
Japanese: これは中国の書物『文選(書物)』にもある諺「李下の冠、瓜田の履」に由来するものである。
English: Moreover, the appearance of the kutsu yokai is designed based on the picture of a kutsu yokai (shoe specter) drawn in "Hyakki yagyo emaki" ('Night Parade of One Hundred Demons' picture scroll) in the Muromachi period.
Japanese: また沓の妖怪のデザインは、室町時代の妖怪絵巻『百鬼夜行絵巻』に描かれている沓の妖怪が元になっている。
English: A Narikama (also called Narigama or Kamanari) is one of Japanese yokai (ghosts, spirits and monsters) that was portrayed in Sekien TORIYAMA's yokai art collection book: "Hyakki Tsurezure Bukuro" (The Bag of One Hundred Random Demons; the term 'hyakki' in its title is a pun on the usual hyakki, replacing the character for demon which is written as "鬼" in Japanese with a character for vessel written as "器," and sure enough, most of the yokais shown in this book are tsukumogami [a type of Japanese spirits that originate in items or artifacts that have reached their 100th birthday and become alive]).
Japanese: 鳴釜（なりかま、なりがま）または釜鳴（かまなり）は、鳥山石燕の妖怪画集『百器徒然袋』にある日本の妖怪。
English: Sekien portrayed the Narikama as a hairy yokai, putting a kama (a metal pot) on and holding a votive picture tablet in his hands as if it is doing fortune-telling.
Japanese: 釜をかぶった毛むくじゃらの姿の妖怪が、絵馬を手にして吉凶を占っているような姿で描かれている。
English: According to one legend, the ritual was started when an ogre named Ura or Onra, which had been killed by Kibitsuhiko no mikoto and become a deity to give divine messages to people through sounds of steam from an iron pot.
Japanese: 同神事は、かつて吉備津彦命に討たれた温羅が人々に託宣を下す神となり、釜の音で吉凶が告げられるようになったことが始まりという説がある。
English: Some say that the specter Narikama is this Ura portrayed as a tsukumogami of a kama based on the legend, thus depicting the kama as a specter.
Japanese: 妖怪の鳴釜はこの伝説をもとに、温羅を釜の付喪神として描いたものだといい、釜を妖怪視して描いたとの説もある。
English: When the farmer boiled water with the iron pot, it might sound, and whenever the pot made some sounds, it always rained on that day.
Japanese: その釜でお湯を沸かすときに音が鳴ることがあり、その日はいつも雨が降った。