nntsuzu/KFTT huggingface dataset:
English: Kokawadera Engiemaki (a picture scroll of the legends of Kokawadera Temple), one of representative picture scrolls in Japan, is designated as a national treasure.
Japanese: 粉河寺縁起絵巻（こかわでらえんぎえまき）は、日本の代表的な絵巻物の一つであり、国宝に指定されている。
English: During the Tensho era (1573-1592), it caught fire from the war; it was badly damaged at the beginning of and at the top and bottom of parts of the scroll.
Japanese: 天正年間に兵火に遭って罹災し、巻首部分と、全巻にわたる上下に甚だしい焼損が見られる。
English: The story is set during the very end of the Nara period, Hoki period (770-780,) and the central character of the story is OTOMO no Kujiko, a mountain man, who lived in Naga District, Ki Province (Wakayama prefecture).
Japanese: 舞台は、奈良時代最末期の宝亀年間（770年-780年）、紀伊国那賀郡(和歌山県)に住していた山人の大伴孔子古（くじこ）なる人物を主人公とする。
English: One time, Kujiko found an auspicious place in the mountains, and wanted to build a Shoja (a hall where priests practice asceticism, like a temple) to install a Buddhist stature in.
Japanese: 孔子古は、ある時、山中に奇瑞の地を発見し、そこに精舎を建立し、仏像を安置したいと発願する。
English: Then, a wandering pilgrim appeared, and he offered to build a Buddhist statue referring to himself as busshi (sculptor of Buddhist Statues).
Japanese: そうすると、一人の遊行の行者が現われ、仏師であると名乗り、仏像の建立を申し出る。
English: The pilgrim entered into the hermitage in mountains, locked the door, and then the pilgrim told him to come back to see him after seven days.
Japanese: 行者は山中の庵に入って扉に鍵をかけ、7日経てば、見に来るように、と告げる。
English: When Kujiko opened the door on the eighth day, Senju Kannon ryuzo (standing statue of Thousand Armed Avalokiteshwara) was installed in the hermitage, and he found that the pilgrim was gone.
Japanese: 孔子古が8日目に扉を開けると、庵内には千手観音立像が安置されており、行者の姿は見えなかった。
English: After that, two daughters of a wealthy man named Satayu who lived in Mabase City, Shibukawa District, Kawachi Province came down with a serious illness.
Japanese: その後、河内国渋河郡馬馳市に住していた佐太夫という長者の二人の娘が重篤な病いに倒れる。
English: Satayu asked the pilgrim where he lived, and the pilgrim replied that he lived in Kokawa-dera Temple in Kazeichi Village, Naga District, Ki Province.
Japanese: 去ろうとする行者に、佐太夫が在所を尋ねると、紀伊国那賀郡風市村にある粉河寺である、という返答がかえってくる。
English: Satayu led the entire family to Kazeichi Village, and they saw a golden Senju Kannon ryuzo standing with the hatchet that Sadayu offered, in its hands posing as Semui-in (mudra for bestowing fearlessness) in a thatched hut.
Japanese: そこで、佐太夫が一族あげて風市村へ赴くと、草庵の中に金色の千手観音像が立っており、その施無畏印を結んだ手に、佐太夫が喜捨した刀がかかっていた。
English: Somin shorai refers to a folk tale that has been told as a legend in Japan in mainly the Kinki region, referring to folk beliefs that originated in the folk tale.
Japanese: 蘇民将来（そみんしょうらい　蘇民將來）とは近畿地方を中心に日本各地に伝わる説話、およびそれを起源とする民間信仰である。
English: Looking at the past, Somin Shorai was founded in Susano-jinja Shrine (Fukuyama city) in itsubun (a composition previously existed but doesn't exist now) of "Bingo-koku Fudoki" (regional gazetteers of Bingo Province) quoted in "Shaku Nihongi;" an annotated text of the Nihon Shoki, (Kanekata URABE, during the middle of the Kamakura period).
Japanese: 古くは『釈日本紀』（卜部兼方　鎌倉時代中期）に引用された『備後国風土記』逸文の素盞嗚神社(福山市)に見える。
English: According to the tale, Muto shin (deity with clear roots in the Korean peninsula) had asked his wealthy younger brother, Shorai, for the place to sleep during his journey and had been refused; Muto shin asked his poor brother, Somin shorai as well, and Somin Shorai treated him even in a poor way.
Japanese: すなわち、旅の途中で宿を乞うた武塔神（むとうしん）を裕福な弟の将来（『備後国風土記』では「或本作巨旦將來也」とあり、巨旦将来　こたんしょうらいとされる）は断り、貧しい兄・蘇民将来は粗末ながらもてなした。
English: Muto shin who revisited his younger brother, Shorai, put a ring of Chigaya (Japanese blood grass) as a mark on Somin's daughter who became the wife of his younger brother, Shorai, and destroyed Shorai's family members except for her.
Japanese: 後に再訪した武塔神は、弟将来の妻となっていた蘇民の娘には茅の輪を付けさせ、それを目印として娘を除く弟将来の一族を滅ぼした。
English: Muto shin called himself Susano no Mikoto (Susano), and taught that putting a ring of Chigaya (Japanese blood grass) enables us to avoid diseases.
Japanese: 武塔神は速須佐雄能神（スサノオ）を名乗り、以後、茅の輪を付けていれば疫病を避けることができると教えたとする。
English: Based on this episode, rituals such as Chinowa kuguri; going through a ring of Chigaya, distribution of talisman of Somin shorai, and shimekazari (sacred Shinto rope with festoons), are actively performed as a prayer for protection from evil in Somin-sai Festival that takes place in various places including within Iwate prefecture in the Yasaka-jinja Shrine in Kyoto and in Ise and Shima regions as an annual event.
Japanese: この逸話を基に岩手県内を始め各地に伝わる蘇民祭を始め、京都の八坂神社や伊勢・志摩地方の年中行事で厄除け祈願として、茅の輪潜りや蘇民将来護符の頒布、注連飾りなどの祭祀が盛んに行われている。
English: Mikomai (written in Japanese kanji characters either as 巫女舞 or 神子舞) is a type of dance performed by miko (shrine maidens) in a Kagura performance (a sacred music and dancing performance dedicated to the Shinto gods).
Japanese: 巫女舞（みこまい・神子舞）とは、巫女によって舞われる神楽の舞の一つ。
English: The dances performed by shrine maidens in ancient Japan, through which gods were believed to alight upon and possess the maidens who were performing the rituals for the gods, were later formalized and took the current form of dances for solemn prayer and dedication to the gods.
Japanese: 古代日本において、祭祀を司る巫女自身の上に神が舞い降りるという神がかりの儀式のために行われた舞がもととなり、それが様式化して祈祷や奉納の舞となった。
English: Although some traces of ancient style dancing still remain, where shrine maidens whirl back and forth in accordance with traditional ritual rules to cleanse their bodies before being possessed to receive oracles from the gods, modern-style dances (such as the Yaotomemai) that emphasize the elegance of the dancing with graceful chanting of Kagurauta songs are dominant today.
Japanese: 前者（「神がかり系」）においては古来の神がかりや託宣の儀式の形式に則って回っては回り返すという動作を繰り返しながら舞うことなどでその身を清めてからその身に神を降すという、その古態を残すところもあるが、現在では優雅な神楽歌にあわせた舞の優美さを重んじた後者（「八乙女系」）がほとんどである。
English: The shrine maidens clad in suikan (everyday garments worn by commoners in ancient Japan), hibakama (scarlet Japanese pants for men) and shirotabi (white Japanese socks), and grasping various torimono (hand-held divine items) such as suzu (bells), oogi (folding fans), sasa (dwarf bamboos), sakaki (branches of a kind of divine wood) and nusa (symbols of divinity made of cloth or paper and hung on a stick) that are regarded as yorishiro (objects representative of a divine spirit), perform mikomai dances in harmony with a hayashi (an orchestra of Japanese instruments) that includes drums, flutes, dobyoshi (two circular cymbals made of copper or iron) and other instruments.
Japanese: 水干・緋袴・白足袋の装いに身を包んだ巫女が太鼓や笛、銅拍子などの囃子にあわせて鈴・扇・笹・榊・幣など依り代となる採物を手にした巫女が舞い踊る。
English: A shrine maiden grasping torimono (hand-held divine items) first dances a dance to cleanse her body, then continues whirling alternately in one direction and the reverse.
Japanese: 採物を手にした巫女がまず身を清めるための舞を舞い、続いて順周り・逆周りに交互に回りながら舞う。
English: Before long, her whirling motion increases in intensity until she is thrown into a trance to embrace the ingression of gods ("hyoi" in Japanese, meaning "spirit possession").
Japanese: やがて、その旋回運動は激しくなり、次第に巫女は一種のトランス状態に突入してやがて神を自分の身に宿す（憑依）ことになる。
English: The original pattern of mikomai dance can be seen in the "Kojiki" (A Record of Ancient Matters) and "Nihonshoki" (Chronicles of Japan) as a historical event of Ame no Uzume no mikoto (the goddess of dawn and revelry), who performed a dance in front of Ama no Iwayato (a rock cave where Amaterasu, deity of the Sun, had hidden), and women of the 'Sarume no kimi' (descendants of Ama no Uzume no mikoto) were reported to have been successively engaged in offering the Kagura dance to gods as court ladies of Jingikan (a department of worship in charge of clergy and Shinto rituals).
Japanese: 『古事記』・『日本書紀』において天岩屋戸の前で舞ったとされる天鈿女命の故事にその原型が見られ、その子孫とされた「猨女君」の女性達は代々神祇官の女官として神楽を奉納したとされている。
English: The dancers who performed at the Imperial Court during the Heian period are all presumed to have been mikomai, such as 'Sarume' (women regarded as descendants of Ama no Uzume, and engaged in offering Kagura dances to gods) and 'Mikannagi' (a woman in charge of dedicating various rituals to gods), both of which are referred to in the book titled "Jogan Gishiki" (the ceremonial manners observed during Jogan era).
Japanese: 平安時代の宮廷で舞われたとされる「猨女」・「御巫」（『貞観儀式』）はいずれも巫女舞であったと推定されている。
English: According to a description in the "Shuishu" (literally, "collection of gleanings" or an imperial anthology of Japanese waka poetry,) a Kagura dance was performed by miko (shrine maidens) called 'Yaotome' (literally, 'eight maidens') at Kasuga Taisha Shrine in Nara in 920.
Japanese: 『拾遺集』によれば、920年（延喜20年）に奈良の春日大社で「八乙女」と呼ばれる巫女達による神楽が舞われたと記録されている。
English: According to the "Shin-sarugoki" (a textbook written about lives and cultures of the people of Kyoto in the Heian period) by FUJIWARA no Akihira in the late Heian period, the four elements shrine maidens were required to master were the abilities of uranai (fortune-telling,) kami-asobi (playing music and dancing in front of gods,) yotsura (beating out strings of Japanese bows as a ritual to ward off evil spirits) and kuchiyose (mediumship or technique to communicate with spirits), and in this book Akihira described his actual experience of witnessing a shrine maiden playing kami-asobi (Kagura), which to him appeared as if an immortal mountain wizard was enjoying dancing with a god.
Japanese: 平安時代末期の藤原明衡の著である『新猿楽記』には、巫女に必要な4要素として「占い・神遊・寄絃・口寄」が挙げられており、彼が実際に目撃したという巫女の神遊（神楽）はまさしく神と舞い遊ぶ仙人のようだったと、記している。
English: An anthology of then-current popular songs titled "Ryojin-hisho" (literally, "Songs to Make the Dust Dance on the Beams"), which belongs to a period slightly later than the "Shin-sarugoki," contains a scene of a shrine maiden named Tota who danced a dance swinging a bell in her hand in its phrase, 'Is it the manner to swing the bell, Tota miko?'
Japanese: また、少し後の時代に属する『梁塵秘抄』にある「鈴はさや振る藤太巫女」にも鈴を持ちながら舞い踊る巫女が登場する。
English: During that period, mikomai came to be regarded as having an element of prayer in pursuit of clients' interests in the secular world, in addition to its conventional feature of spiritual possession.
Japanese: 当時の巫女舞は旧来の神がかり的要素に加えて依頼者の現世利益を追求するための祈願を併せて目的としていたとされている。
English: Further development in mikomai took place in local areas, where shrine maidens and shugenja (ascetic monks) joined together and created new mikomai that were influenced heavily by the prayers and folkways aiming for repose of souls.
Japanese: また、地方では修験者と巫女が結びついて祈祷や鎮魂を目的とする民間習俗の色彩が濃い巫女舞も行われるようになった。
English: This fact is considered the reason why even today some people say 'Kagura' or 'Kagura wo ageru' (literally, 'to dedicate Kagura dances') to mean simply 'a prayer' itself or 'to offer a prayer.'
Japanese: 現在でも、祈祷・祈願自体を神楽、あるいは「神楽を上げる」と称する例があるのも、このことが基であると考えられる。
English: Many historical documents about mikomai in the medieval period have been kept at Kibitsu-jinja Shrine in Bizen Province (Okayama Prefecture), and according to one documents named "Ichinomiyasha ho" written in 1342, Ichinomiya (i.e. Kibitsu-jinja Shrine) retained 'mikoza' (literally, 'a group of miko') composed of twelve shrine maidens, some of whom were dispatched to offer Kagura at local shrines upon request, while Ichinomiya also received shrine maidens from local shrines to dance Kagura at Ichinomiya.
Japanese: 中世の巫女舞に関する多くの史料が残されている備前国（岡山県）の吉備津神社の例では、1342年（康永元年/興国3年）作成の『一宮社法』によれば、一宮（吉備津神社）には12名の巫女からなる「神子座」があり、一宮の行事以外でも村々の招きに応じて神楽を舞い、逆に村々の巫女が一宮で舞う事があった。
English: On the other hand, according to the 'Soshake Shaso chu Shinzen Gokinen no koto nado Chumon' (literally, 'the regulations on prayers to be performed in front of gods by Buddhist monks who belong to all successive shrine priest families') written in 1471, shrine maidens were separated into miko responsible for divine affairs and those engaged in other affairs including oracles, by classifying them into Miya miko (literally, shrine maidens belonging to shrine families) and Murakata no miko (literally, shrine maidens belonging to village people), and further classifying Miya miko as either Ichi no miko (literally, the first rank miko) or other general Miya miko, with only the first rank shrine maidens being allowed to dance Kagura silently (but prohibited to make oracles and other performances) and Miya miko generally permitted to offer prayers only but not allowed to engage in fortune-telling, oracles and yutate (a ceremony to boil fresh pure water and perform ablution by splashing it on themselves in front of gods), which were conducted at wakiden (a hall standing nearby main hall) by shrine maidens other than Miya miko.
Japanese: だが、1471年（文明(日本)3年）に作成された「総社家社僧中神前御祈念之事等注文」によれば、巫女にも宮神子から選抜される一神子と一般の宮神子、村方の神子に分類され、一神子のみが本社で神楽を無言で舞うことが許され（託宣などの禁止）、宮神子は祈祷のみを許され、占い・託宣・湯立は脇殿で宮神子以外の者が行うことなどが定められて、神事に携わるものと託宣などを行うものが分離されるようになった。
English: However, some Kokugaku (study of ancient Japanese literature and culture) theories that rose to prominence in the late Edo period asserted that any spiritual phenomenon including shinrei no hyoi (spirit possession) should be considered as inshi jakyo (evil heresies), which led to a negative campaign against shrine maidens themselves, who tended to be linked with such folkways.
Japanese: ところが、江戸時代後期に勃興した国学の中には、神霊の憑依などの霊的現象を淫祠邪教として否定的に捉える学説が現れるようになり、そのような民間習俗と結びつきやすい巫女そのものに対しても否定的な動きが出始めた。
English: Following the Meiji Restoration, the government reviewed the entire system of divine rituals at shrines from the viewpoint of Kokugaku on Shinto religion, and in 1873 the Kyobu-sho (the Ministry of Religious Education) totally banned all activity to obtain oracles of gods through spirit possession and other spiritual methods.
Japanese: 後、明治維新を迎え、国学的な神道観を基に神社祭祀制度の抜本的な見直しが為されたが、1873年（明治6年）には神霊の憑依などによって託宣を得る行為は教部省によって全面的に禁止された。
English: Although this order compelled shrine maidens who did not remain continually at one shrine to give up their duty of offering folk prayers among the public, some maidens could continue their activities by staying at some shrines.
Japanese: 禁止措置によって神社に常駐せずに民間祈祷を行っていた巫女は全面的に廃業となったが、中には神社に留まることによって活動を続ける者もいた。
English: Mitsuyoshi TOMITA and others from Kasuga Taisha Shrine later appealed to the importance of shrine maidens in Shinto religion and pleaded for continuation of mikomai, and also contributed to the restoration of shrine maidens and mikomai by refining the original mikomai dance performed by 'Yaotome' to boost its artistic quality.
Japanese: 後、春日大社の富田光美らが、巫女の神道における重要性を唱えて巫女舞の存続を訴えると同時に同社ゆかりの「八乙女」による舞をより洗練させて芸術性を高める事によって巫女及び巫女舞の復興に尽くしたのである。
English: Thus even though mikomai has developed into the style seen today, there still remain some older, albeit rare, style of mikomai with its tradition of 'kamigakari' (literally, 'spiritual possession').
Japanese: これが今日見られるような巫女舞になっていくのであるが、依然として「神がかり」の系統を受け継いだ古い形の巫女舞を残している神社も僅かながら存在している。
English: On the other hand, there are shrines such as Sada-jinja Shrine in Matsue City, Shimane Prefecture, where another style of mikomai is performed by a male Shinto priest disguised as a female with a mask of a princess.
Japanese: その一方で、島根県松江市の佐太神社のように男性神職が女装して姫面を付けて巫女舞を踊る神社も存在している。
English: Kyoto Tourism Culture Certification Test, for `Kyoto Expert Certification,' is a certification test covering knowledge about a particular place that is held by the Kyoto Chamber of Commerce.
Japanese: 京都・観光文化検定（きょうとかんこうぶんかけんてい）通称「京都検定」とは、京都商工会議所が主催するご当地検定である。
English: A flood of applications, not only from around Kyoto, but also from all over Japan for the certification test were received, which spurred certification testing for a particular place to be spread throughout Japan.
Japanese: 京都近隣だけでなく全国から応募が殺到したことをきっかけとなり、ご当地検定が全国へひろがる契機となった。
English: (knowing Kyoto, lifelong education, as a host, and utilization of your knowledge for jobs, etc.)
Japanese: （京都を知る、生涯学習、もてなす側として、知識を仕事に活かす、など）
English: No eligibility requirement (anyone who can take the test at the designated test site. those who want to take the First Level need to have passed the Second Level)
Japanese: 制限なし（指定する試験会場で受験可能な者。1級受験は2級合格者に限る）
English: General knowledge related to Kyoto including history, historical sites, shrines, temples, architecture, gardens, arts, traditional industrial arts, traditional culture, entertainment areas, festivals and events, Kyo-ryori (local cuisine of Kyoto), Kyoto Confectionary, customs, dialects and folk tales, geographical names, natural resources, tourism, etc.
Japanese: 歴史、史跡、神社、寺院、建築、庭園、美術、伝統工芸、伝統文化、花街、祭とイベント、京料理、京菓子、ならわし、ことばと伝説、地名、自然、観光学など、京都に関すること全般。
English: (more than 90% of the third level questions are from the third level official text, more than 70% of the second level questions are from the second level official text, and the first level questions are in reference to the first level official text)
Japanese: （3級公式テキストから90%以上を出題、2級公式テキストから70%以上を出題、1級公式テキストに準拠して出題）
English: The second level and the third level use a marking sheet, a number of questions is within 100 (90 minute time limit), and the first level uses a description format, the number of questions is 50 and the thesis method (90 minute time limit)
Japanese: 2級、3級はマークシート方式で100問以内（制限時間90分）、1級は記述式で50問および論文方式（制限時間90分）
English: Shimmachi Campus, Doshisha University, Kinugasa Campus, Ritsumeikan University, Fukakusa Campus, Ryukoku University, Main Campus, Otani University
Japanese: 同志社大学新町キャンパス、立命館大学衣笠キャンパス、龍谷大学深草キャンパス、、大谷大学本部キャンパス
English: Kyoto Shimbun Publishing Center 1,200 yen (tax included) ISBN 4763805754
Japanese: -京都新聞出版センター　1,200円（税込）ISBN4763805754
English: Kyoto Shimbun Publishing Center 1,000 yen (tax included) ISBN 4763805568
Japanese: -京都新聞出版センター　1,000円（税込）ISBN4763805568
English: Although Hayami-ryu school stemmed from the Urasenke school of tea ceremony, it is based upon the culture of court nobles since it has maintained close relationships with Shogoin Monzeki Temple (originally built in 1090 in Kyoto as a temple of Tendai Sect and has been continuaously used as a residence of various priests retired from nobilities including imperial household members).
Japanese: 裏千家から分かれた流派であるものの、聖護院門跡との密接な関わりにより公家文化を基調とした流儀となっている。
English: Some prominent examples of the influence of court culture are the use of fukusa (a small cloth for wiping tea utensils) in two colors on a skew which refers to the color pattern of juni-hitoe (twelve-layered ceremonial kimono wear) as well as the Kinin-date (the tea ceremony procedure for nobilities) using tato (a folding paper-case) and kokakedai (a small table) which refers to Senko no Kakeban (a small low table made of subtle fragrant wood to place dishes).
Japanese: わかりやすいところでは十二単の色目を参考にした斜め二色の袱紗を使用することがあげられ、また畳紙（たとう）と浅香の懸盤を参考にした小掛台とを使った貴人点前も公家文化をよく反映したものである。
English: One of the other features of Hayami-ryu school is the igyoshiki exercises (a series of officially established ten methods to exercise the tea ceremony) developed from the shichijishiki exercises (a series of officially established seven methods) which was officially established in the middle of Edo period by Sansenke (three Senke schools,) and another feature is the shool's unique procedure called the dasshaku tenho which is a special procedure of the tea ceremony using no chashaku or excluding the bamboo tea spoon for making Japanese tea.
Japanese: その他、三千家で江戸中期に制定された七事式は三式を追加して肄業式（いぎょうしき）となっており、さらに特殊な点前として茶杓を使わない脱杓点法がある。
English: Sotatsu HAYAMI who was born in the family of Hikotatsu HAYAMI, a successor of the job as goten-i (a doctor hired by a family of shogun or other feudal lord,) became acquainted with kangaku (the study of Chinese classics) and kokugaku (study of ancient Japanese literature and culture) by studying them at Kogido (a private tutoring shoool to teach Confucianism by Jinsai ITO in Kyoto).
Japanese: 速水宗達は、代々御典医を務めて速水彦達と呼ばれた家に生まれたが、古義堂に学んで漢学や国学に深く通じた学者となった。
English: Sotatsu HAYAMI learned tea ceremony under Itto Soshitsu, Yugensai, the eighth head of Urasenke school, and mastered its secrets early on assuming his own scholarly style of tea ceremony.
Japanese: 茶道は裏千家8代又玄斎一燈宗室の門に学び、早くから奥義をきわめ学究肌の茶風であった。
English: Sotatsu was respected as a prominent disciple of Itto Soshitsu, because of his deep insight as a scholar and his academic approach to the tea ceremony, beside the pedigree of his Hayami family as distinguished doctors.
Japanese: 速水家が医者として名家であったこと、宗達の学者としての高い見識と茶の湯に対する学究的態度が評価されたこともあり、一燈の門人では随一の人とされる。
English: As a coach of the tea ceremony, he served Imperial Prince Shogoinnomiya Einin, a younger brother of the Emperor Kokaku, and gradually changed his style of the tea ceremony to goshofu (imperial palace style).
Japanese: 光格天皇の弟である聖護院宮盈仁親王の茶道指南を努め、次第に御所風の流儀に改めるようになった。
English: Sotatsu is also known to have coached the tea ceremony to the Ikeda family of Okayama Domain, Bizen Province, and the Yanagisawa family of Koriyama Domain, Yamato Province.
Japanese: 備前国岡山藩池田家や大和国郡山藩柳沢家の茶道指南を務めたことでも知られる。
English: In a way, the Hayami-ryu school is believed to have originated in the event that Sotatsu was allowed to establish a branch school in order to be delegated to Okayama on behalf of Soshitsu when Soshitsu received a request for outside services of the tea ceremony at Ikeda family's residence in the domain of Okayama.
Japanese: 速水流の起源については、一燈宗室が岡山藩池田家から出仕の要請を受けた際に、分派を許した上で代理に宗達を遣わしたという説がある。
English: But, this explanation is contradictory to the fact that the Okayama Domain assumed its policy of civilian control only after the retirement of the fifth lord, Harumasa IKEDA, known as an intellectual lord who had lived with Itto Soshitsu, and that Soshitsu had then already passed away at the time of Harumasa's retirement.
Japanese: 一燈在世中の岡山藩主は文化人としても知られる5代池田治政だが、岡山藩池田家が文治主義になるのは治政隠居後とされており、このときすでに一燈は世を去っているため整合しない。
English: Meanwhile, there is another explanation that Sotatsu HAYAMI was allowed to establish an offshoot of Itto Soshitsu, when accosted and asked by Imperial Prince Shogoinnomiya Einin, after Itto's death.
Japanese: 一方で一燈亡き後に聖護院宮盈仁親王のお声掛かりで別派を許されたとする説もある。
English: Stories of these traditions are considered to have been formed in the Tenpo era at the earliest, most probably after the Bunkyu era.
Japanese: これらは早くても天保期、おそらく文久以降に成立した伝承だろうと考えられる。
English: Sotatsu left a huge vokume of scripts showing that he had apparently intended to create an academic teaching system of the tea ceremony regardless of whatever school or sect it may concern.
Japanese: 宗達は流派に拠らない学術的な茶道の教授体系を考案しようとしたらしく、莫大な量の草稿を残している。
English: After Sotatsu died, his scripts were partly compiled by the second head of the school, Soyo, into such books as "Chashiryaku," "Kissa-shisho-hen" and others, and further they were published by the third head, Soken, as a book titled "Chasoku."
Japanese: その一部は宗達の死後、2代宗曄によって整理されて『茶旨略』『喫茶指掌篇』などとして、また3代宗筧により『茶則』として刊行されている。
English: During the generation of the third head, Soken, Dekigenkyo, the head family of Hayami-ryu school, reached a new height of prosperity and shifted its location from Kamaza Demizu to the current address of Kitano under the order from the bakufu (Japanese feudal government headed by a shogun).
Japanese: 滌源居は流勢盛んであった3代宗筧のときに幕府の命により釜座出水から立ち退き、北野の現在地へ移った。
English: The sixth head, Sojin, a graduate of Waseda University, was awarded with Academia prize of Zenkoku Nihon Gakushikai (the Academic Society of Japan) as a scholar adept in religion and philosophy.
Japanese: 6代宗仁は早稲田大学出身で宗教や哲学に通じた学者でもあり、全国日本学士会よりアカデミア賞を授与された。
English: Uneme costume is a costume for Uneme, a court lady selected among Gozoku (local ruling families) who served in the inner palace as a waiting staff of the emperor in ancient times.
Japanese: 采女装束（うねめしょうぞく）とは、全国の豪族から選抜されて天皇の給仕係などとして上古の宮中に勤めた女官である采女の衣装。
English: Compared with juni-hitoe (twelve-layered ceremonial kimono) worn by nyobo (a court lady) who mainly worked as a brainworker in the same inner palace, the Uneme costume was short-length, allowing mobility for Uneme who worked while walking around.
Japanese: 同じ宮中の女官といっても、基本的に頭脳労働中心の女房が身に着ける十二単に比べて、立ち働きが多いため丈が短く活動的にできている。
English: ONO no Komachii during the Jidai-matsuri Festival wore an Uneme costume during the early Heian period.
Japanese: ちなみに時代祭での小野小町は平安時代初期の采女の装束を身に着けている。
English: Since the Uneme costume was simple allowing mobility, it is said that present-day costume for female Shinto priest was based on the Uneme costume.
Japanese: 簡素で活動的なことから、現代の女性神職装束はこの采女装束を参考にしていると言われる。
English: kiri-hakama (short fringe hakama): Hakama with hems almost reaching the instep and it is like a wide-legged trousers.
Japanese: 切袴（きりばかま）：足の甲にかかるくらいの丈の、幅の広いズボン形の袴。
English: Kiri-hakama was made to use nejimachi method; the hems are rolled up and glued instead of sewing while the upper part was tucked.
Japanese: 捩襠（ねじまち）といって縁を縫わずに巻いて糊でとめており、襞は上の部分にしかない。