nntsuzu/KFTT huggingface dataset:
English: The Kyoto National Museum owns the twelfth volume of reikan (National Treasure), and Sannomaru Shozokan (The Museum of the Imperial Collections) owns reikan (an old Imperial property) which consists of most of the sixteenth volume and a part of the seventeenth volume.
Japanese: 巻十二の零巻（国宝）が京都国立博物館、巻十六の大部分と巻十七の一部を合わせた零巻（旧御物）が三の丸尚蔵館に所蔵される。
English: Takashi MASUDA, a businessman and a famous collector of antiques, once owned reikan which consisted of parts of the tenth and eleventh volumes, but these volumes were later divided.
Japanese: このほか、巻十と巻十一の各一部を合わせた零巻がかつて存在し、古美術収集家として著名な実業家益田孝の所蔵であったが、この巻は後に分割されている。
English: The style of calligraphy of Honamigire belongs to a different lineage from that of Koyagire (a manuscript of "Kokin Wakashu" transcribed in the eleventh century), considered a supreme achievement of kana calligraphy made during the Heian period, and there are no relics left with the same handwriting.
Japanese: 本阿弥切の書風は、平安時代の仮名書道の最高峰と評される高野切（11世紀に書写された『古今和歌集』の写本）などとは別系統で、他に同筆の遺品は知られていない。
English: Honamigire is a small work whose length is 16.7 cm, so the size of characters are naturally small too, but the brush strokes are powerful and rhythmical.
Japanese: 本阿弥切は、紙面の高さ（縦）16.7cmほどの小型の作品であり、当然ながら字粒も小さいが、筆力が強くリズミカルな書風であると評されている。
English: Koya-gire is the popular name for the incomplete manuscript of the "Kokin wakashu" (collection of ancient and modern waka poems, usually known as Kokinshu in English) that was transcribed in the eleventh century, near the end of the Heian period.
Japanese: 高野切（こうやぎれ）は、平安時代後期、11世紀に書写された『古今和歌集』の写本の通称である。
English: As the oldest extant text of the "Kokin wakashu," it is a vitally important source for students of the history of Japanese literature and the history of the Japanese language, and moreover has been held in great esteem from time immemorial as the most prominent example of calligraphy in kana (a syllabic script), making it a work of tremendous importance for the history of Japanese calligraphy.
Japanese: 『古今和歌集』の現存最古のテキストとして、日本文学史、日本語史の研究資料として貴重であるとともに、その書風は仮名書道の最高峰として古来尊重され、日本書道史上もきわめて重要な作品である。
English: The Koya-gire is a transcription of the "Kokin wakashu" that began with the twentieth volume (or about the 1100th waka).
Japanese: 『古今和歌集』を書き写したもので、当初は20巻（和歌1100首前後）からなっていた。
English: The Koya-gire was transcribed on high-quality hemp paper made of plant fibers, and for the front cover a material was used that featured scattered glittering mica dust.
Japanese: 料紙は、上質の麻紙で、表面に雲母砂子（きらすなご）を散らしたものを用いている。
English: Hemp paper was often used to transcribe Buddhist sutras, but cases where it was used for waka anthologies are few and far between.
Japanese: 麻紙は経典の書写に多く用いられ、和歌集の料紙として用いた例は少ない。
English: The 'kire' (or 'gire') from 'Koya-gire' is a technical term used in art history, calligraphic history, and the tea ceremony; it refers to the process of cutting out sections of the original scrolls or booklets of the waka or kanshi (Chinese poem) anthologies and featuring them for aesthetic reasons, for example by integrating them into a kakejiku (hanging scroll) or pasting them into albums called 'dekagami' (literally 'hand mirrors,' collections of handwriting).
Japanese: 「高野切」などの「切（きれ）」とは美術史、書道史、茶道などの用語で、元来巻物や冊子本であった和歌集、漢詩集などの写本を、鑑賞用とするため切断し、掛軸に仕立てたり、手鑑（でかがみ）と称するアルバムに貼り込んだりしたものを指す。
English: Scraps of paper cut out like this were called 'dankan' (fragments); among the entire collection of the Koya-gire volume of the Kokinshu, Hideyoshi TOYOTOMI had possession of the dankan appearing at the beginning of scroll nine, the 17th line.
Japanese: こうして切断された紙片のことを「断簡」と称するが、高野切本古今和歌集のうち、巻九の巻頭の17行分の断簡は豊臣秀吉が所持していた。
English: The dankan in question was afterwards given to Ogo MOKUJIKI as a gift, who bequeathed it to Mt. Koya monastery, which is how the name 'Koya-gire' came to be.
Japanese: この断簡は後に木食応其（もくじきおうご）に下賜され、高野山に伝来したため、「高野切」の名が生じた。
English: As the standard par excellence for waka, a thorough knowledge of and familiarity with the "Kokin wakashu" was considered an indispensable mark of refinement for distinguished personages of the Heian period, and was held in very high regard.
Japanese: 『古今和歌集』は和歌の規範として、平安時代の貴顕には必須の教養とされ、尊重されてきた。
English: Many written copies were made as a result, to the point that it's said there were about 60 different copies made of it during the Heian period alone; but among all such transcribed copies, the Koya-gire is the oldest, and continues to be revered as a model for calligraphy.
Japanese: そのため写本も多く、平安時代にさかのぼる写本だけで約60種にのぼると言われているが、その中でも最古写本であり、書道の手本としても尊重されているのが高野切本である。
English: Tradition has it that the Koya-gire was transcribed by KI no Tsurayuki (882-946), but in actuality the transcription dates from the eleventh century, more than 100 years after Tsurayuki's time.
Japanese: 高野切の筆者は古来紀貫之（882-946）と伝承されてきたが、実際は貫之の時代より1世紀ほど後の11世紀の書写である。
English: Thanks to the advancement in recent years of techniques to research and analyze brushstrokes (and calligraphic style), it is clear the brushstrokes in the Koya-gire can be divided into three distinct styles, which for convenience are called 'the first style,' 'the second style,' and 'the third style.'
Japanese: 近代における筆跡研究の進展により、高野切の筆跡は3種に分かれることが明らかにされており、便宜上、「第一種」「第二種」「第三種」と称されている。
English: Altogether the "Kokin wakashu" consists of 20 scrolls (volumes) and a preface, but the Koya-gire has preserved only scrolls one, two, three, five, eight, nine, eighteen, nineteen, and twenty, and it is thought that the remaining scrolls have not survived to the present day.
Japanese: 『古今和歌集』は全20巻と序からなるが、高野切本の現存する巻は巻一、二、三、五、八、九、十八、十九、二十で、残りの巻は発見されておらず、失われたものと思われる。
English: Among the extant scrolls, only scrolls five (in a private collection), eight (held in Yamaguchi at the Mori Museum), and twenty (owned by Kochi Prefecture) are still complete in scroll form (all three are National Treasures), while scrolls one, two, three, nine, eighteen, and nineteen have been split up as dankan and scattered to various places.
Japanese: このうち、巻五（個人蔵）、巻八（山口・毛利博物館蔵）、巻二十（高知県蔵）の3巻のみが巻物として完存し（3巻とも国宝）、巻一、二、三、九、十八、十九は断簡として各所に分蔵されている。
English: Because he was in charge of transcribing both the very beginning (scroll one), and the very end (scroll twenty) of the Kokinshu, the presumption is that the calligrapher of the first style was the one who had the highest social status among the three.
Japanese: 古今集の冒頭の巻一と最後の巻二十を担当していることから、3人の筆者の中でもっとも地位の高い人物と推定される。
English: In terms of identifying the calligrapher, the most prominent theory is that he was FUJIWARA no Yukitsune (1012-1050, also known as Yukitsune SESONJI), son of famed calligrapher FUJIWARA no Yukinari (his first name can also be rendered as Kozei), but there is no definitive proof of this.
Japanese: 筆者については藤原行成の子の世尊寺行経（1012-1050）とする説が有力だが、確証はない。
English: The calligraphy of the first style remains highly regarded as a model of kana calligraphy, and continues to be used as such even today.
Japanese: 第一種の書風は21世紀の今日に至るまで仮名書道の手本として尊重されている。
English: The calligraphic style is marked by grace and beauty, with the form of the characters done mainly in the calligrapher's own hand; there are no rough spots, and the continuous, flowing lines (in which multiple characters are written continuously, without breaks between them) show restraint.
Japanese: 書風は、秀麗温雅で、字形は直筆を主として、くせがなく、連綿（数文字を続けて書くこと）は控えめである。
English: Examples of other brushwork done in the same or closely connected hand as that of the first style include the Daiji wakanroeishu-gire (Fragmented Collection of Japanese and Chinese Poems, currently owned by various families), the Shinso hisho (in the possession of the Fujita Art Museum), and the Waka keijushu (10 Different Styles of Waka, owned by Tokyo National Museum).
Japanese: 第一種と同筆または同系統の筆跡としては、大字和漢朗詠集切（諸家分蔵）、深窓秘抄（藤田美術館蔵）、和歌躰十種（東京国立博物館蔵）などがある。
English: The art historian Shigemi KOMATSU has postulated that the calligrapher of the second style was MINAMOTO no Kaneyuki (active around 1023-1074).
Japanese: 美術史家の小松茂美は第二種の筆者を源兼行（1023-1074頃活動）と推定した。
English: The second style matches the brushwork of one of the passages written on the reverse side of the volume of the Engi-shiki (an ancient code of laws) owned by the Kujo family that is known to be by Kaneyuki, and for this and other reasons, even when looked at from different viewpoints, the theory that Kaneyuki was the calligrapher of the second style is all but conclusively proven.
Japanese: 九条家本延喜式の紙背文書（しはいもんじょ）中の兼行の筆跡との一致など、さまざまな観点から、兼行を筆者とする説はほぼ定説化している。
English: Of the three calligraphic styles in the Koya-gire, it is the brushwork of the second style that is the most idiosyncratic and unique; it is distinguished by the frequent use of brushstrokes at oblique angles, rising to the right, and by its thick, heavily drawn characters.
Japanese: 高野切の3種の筆跡のなかではもっとも個性が強く、側筆を多用した右肩上がりで肉太の字形に特色がある。
English: Examples of brushwork in the same or closely related hand as that of the second style include the colored headboard of a wall painting in Phoenix Hall of Byodoin temple, the Katsuranomiya manuscript of the Manyoshu (owned by the Imperial House), the Kumogami manuscripts of the Wakan roeishu (in the possession of the Sannomaru Shozokan), and the Sekito manuscripts of the Wakan roeishu-gire (owned by a variety of families).
Japanese: 第二種と同筆または同系統の筆跡としては、平等院鳳凰堂壁画色紙形、桂宮本万葉集（御物）、雲紙本和漢朗詠集（三の丸尚蔵館蔵）、関戸本和漢朗詠集切（諸家分蔵）などがある。
English: There is a theory claiming the calligrapher was FUJIWARA no Kintsune (?-1099), but this matter is still very much in doubt.
Japanese: 筆者については藤原公経（?-1099）とする説もあるが、なお未詳である。
English: The style of the calligraphy is marked by gentleness, and of the three styles in the Koya-gire, it is considered the most modern.
Japanese: 書風は穏やかで、高野切の3種の筆跡のなかでは、もっとも現代風であると評されている。
English: Examples of brushwork in the same or closely related hand as that of the calligrapher of the third style include the Deccho manuscript of the Wakan roeishu (owned by the Sannomaru Shozokan), the first scroll of the Genryaku kobon manuscript of the Manyoshu (owned by Tokyo National Museum), the Iyo-gire (dankan from the Wakan roeishu, owned by various families), the Horei-gire (dankan from the Misho kashu or "collection of anonymous poems," owned by various families), and the Horinji-gire (dankan from the written copy of the Wakan roeishu, owned by various families).
Japanese: 第三種と同筆または同系統の筆跡としては、粘葉本（でっちょうぼん）和漢朗詠集（三の丸尚蔵館蔵）、元暦校本万葉集巻一（東京国立博物館蔵）、伊予切（和漢朗詠集の断簡、諸家分蔵）、蓬莱切（未詳歌集の断簡、諸家分蔵）、法輪寺切（和漢朗詠集写本の断簡、諸家分蔵）などがある。
English: FUJIWARA no Munetada (1062-May 27, 1141) was a Heian-period court noble.
Japanese: 藤原宗忠（ふじわらのむねただ、康平5年（1062年）-永治元年4月20日(旧暦)（1141年5月27日））は、平安時代の公家。
English: Munetada was the eldest son of the Dainagon (chief councilor of state) FUJIWARA no Munetoshi, of the Fujiwara Northern House lineage of FUJIWARA no Michinaga's second son FUJIWARA no Yorimune; his mother was FUJIWARA no Sanetsuna's daughter.
Japanese: 藤原北家藤原道長の次男藤原頼宗流の大納言藤原宗俊の長男で母は藤原実綱の娘。
English: As a court noble during the transition period between the era of rule by regents and advisors (Sekkan seiji) into the era of rule by Retired Emperors (the Insei period), he recorded the changes in that period, the events that happened in his immediate circle, and his interactions with famous people of the day, and also noted his own opinions and evaluations of these activities in the diary he left behind, making him a person of great historical significance who recorded his first-person grasp of the period in his diary, a historical record of tremendous value, and passed on that understanding to later generations.
Japanese: 摂関政治から院政への過渡期の公卿として、その時代の動きや自身の身辺での出来事、また、重要な人物との接触や、その活動についての自身の意見や評価を日記として残し、その時代をつかむ上で重要な史料を後世に提供した重要人物である。
English: In particular, the critical remarks and evaluations he included in his diary of the insei (rule by retired emperors) system as well as the internal strife besetting the sekkan seiji (government by regents and advisors), not to mention his commentary on the internal strife facing the Minamoto clan and the rise of the Taira clan, ensure his fame as one who left behind a valuable historical record, and his diary, the "Chuyuki" (Diary of Nakamikado, Minister of the Right) remains a precious historical document that captures the essence of the trends in the last days of the Heian period.
Japanese: 特に、摂関家の内紛や院政に対する批判や批評を行い、源氏の内紛、平家の台頭に関しても貴重な史料を残している人物で、その日記、『中右記』は平安時代後期の趨勢を知る上で貴重な史料。
English: Queen Kishi (also known as Yoshiko) was a poet and member of the Imperial Family who lived in the middle of the Heian period, from 929 to 985.
Japanese: 徽子女王（きし（よしこ）じょおう、延長(元号)7年（929年）-寛和元年（985年））は平安時代中期の皇族、歌人。
English: In 936, the current high priestess of Ise Shrine, Imperial Princess Saishi (daughter of Emperor Daigo), suddenly died, prompting Kishi to be chosen as the next high priestess of Ise, at the age of eight.
Japanese: 承平(日本)6年（936年）、時の斎宮斉子内親王（醍醐天皇皇女）の急逝により、8歳で伊勢斎宮に選ばれる。
English: When the time came for the hakken no gi (the pre-departure ceremony), Emperor Suzaku was still working to avoid a taboo, so his maternal grandfather, the Regent Tadahira, performed his duties for him, and for the pilgrimage to Ise, the Choho-soshi (Imperial envoy who was responsible for seeing each high priestess safely arrive at Ise) for Kishi's journey was her uncle, the Chunagon (vice-councilor of state) FUJIWARA no Morosuke, who traveled on the pilgrimage with her.
Japanese: この時の発遣の儀（出発前の儀式）は朱雀天皇が物忌中のため、外祖父の摂政忠平が執り行い、また群行には長奉送使（斎宮を伊勢まで送り届ける勅使）として伯父の中納言藤原師輔が同行した。
English: In 948, at the age of twenty, she entered the Court at the request of her uncle Emperor Murakami, and received her official appointment as Court Lady in 949.
Japanese: 天暦2年（948年）、叔父村上天皇に請われて20歳で入内し、同3年（949年）女御の宣旨を受ける。
English: Because she was assigned as lady-in-waiting to the Shokaden Palace and because her father Imperial Prince Shigeaki's Court title was Lord Shikibukyo, she was called Lady Shokaden and Lady Shikibukyo, but her most widely known popular name was the Lady of Ise due to her earlier role as high priestess of Ise.
Japanese: 局を承香殿としたことから承香殿女御、また父重明親王の肩書から式部卿の女御などと称されたが、前斎宮であった故の「斎宮女御」の通称が最もよく知られている。
English: She had two children, a daughter called Imperial Princess Kishi (the fourth imperial daughter of Emperor Murakami, who lived from 949 to 986) and one son (who died young)).
Japanese: 子女は規子内親王（村上天皇第四皇女、天暦3年-寛和2年）と皇子一人（早世）。
English: She lived in the inner palace surrounded by many beautiful and talented women including Empress FUJIWARA no Anshi and Senyoden no Nyogo FUJIWARA no Hoshi (or Yoshiko), yet Queen Kishi's exceptional talents in waka poetry and in playing the koto, which she had inherited from her father, were especially famous, and she was known as an expert at the kokin (a musical instrument, like the koto).
Japanese: 中宮藤原安子、宣耀殿女御藤原芳子など美女才女の多い後宮にあって徽子女王の父譲りの和歌と琴の天分は名高く、ことに古琴の名手であったといわれる。
English: She also wrote a large number of excellent waka as songs for the koto, and section 171 of the "Okagami" tells an anecdote about the Emperor and Queen Kishi playing the koto together; the "Yakakutei kinsho" reports that priestesses of Ise and court ladies valued playing the koto so highly that they reserved their right hands only for that, and used their left hands only in daily life.
Japanese: 詠歌にも琴にまつわる秀歌が多く、また『大鏡』171段にも天皇と徽子女王の琴をめぐる逸話が語られており、『夜鶴庭訓抄』は斎宮女御が右手を琴を引く手として大切にし、普段は左の手を使ったと伝えている。
English: Moreover, having come into full bloom during a generation that was exceptionally elegant and refined, she organized several cultured activities, including the Poetry Contest of Queen Kishi, High Priestess of Ise and Court Lady held in 956 and the Senzai (gardening) contest of Queen Kishi, High Priestess of Ise and Court Lady in 959.
Japanese: その他、天暦10年（956年）に「斎宮女御徽子女王歌合」を、天徳(日本)3年（959年）に「斎宮女御徽子女王前栽合」を主催するなど、文雅豊かな御世に華を添えた。
English: In 967, Emperor Murakami passed away, and thereafter she lived together with her only daughter, Imperial Princess Kishi, in a palace outside the Imperial enclosure.
Japanese: 康保4年（967年）に村上天皇が崩御、その後は一人娘規子内親王と共に里第で暮らす。
English: In 975, at 27 years old, Imperial Princess Kishi was the imperial princess chosen to serve as high priestess of Ise for Emperor Enyu, so the following year in 976, Queen Kishi traveled with her daughter for the ceremonial first entry of the new high priestess; it was in the winter of that same year that Queen Kishi composed her famous Shofu nyu yakin (Into the Night of Koto Music Comes the Wind of the Pines) poem, during the poetry contest held at the temporary shrine of Ise.
Japanese: 天延3年（975年）、規子内親王が27歳で円融天皇の斎宮に選ばれると、翌貞元_(日本)元年（976年）の初斎院入りに徽子女王も同行、同年冬の野宮歌合では有名な「松風入夜琴」の歌を詠む。
English: And then, in 977, Queen Kishi shook off Emperor Enyu's attempts to thwart her and processed down to Ise together with her daughter; this was completely without precedent, and as such left everyone shocked.
Japanese: そして同2年（977年）、円融天皇の制止を振り切って斎宮と共に伊勢へ下向し、前例のないこととして人々を驚かせた。
English: (It is thought this historical episode later served as the inspiration for the scene in the "Tale of Genji" where Lady Rokujo accompanies her daughter Empress Akikonomu to Ise.)
Japanese: （この時の逸話は後に『源氏物語』で六条御息所・秋好中宮親子のモデルになったと言われる）
English: The following year mother and daughter returned to the capital together, but Queen Kishi seems already to have been suffering from an illness at this point, and she died one year later.
Japanese: 翌寛和元年（985年）母娘共に帰京するが、この頃既に徽子女王は病身であったらしく、同年卒した。
English: Queen Kishi, known by her popular name Saigu nyogo (the High Priestess and Court Lady), became empress starting after Imperial Princess Asahara, Empress to Emperor Heizei, and was part of the first mother-daughter, two-generation monopoly of the position of high priestess at Ise since Imperial Princess Sakahito and her daughter Imperial Princess Asahara.
Japanese: 「斎宮女御」の通称で知られる徽子女王は、前斎宮としては平城天皇妃朝原内親王以来の皇妃であり、また母娘二代の斎宮となったのも酒人内親王・朝原内親王以来であった。
English: But the inner palace in those days was filled with consorts from the family of regents and advisors (a different branch of the Fujiwara clan), and Empress Anshi first among them; although she was the one of the highest birth among all these women, Queen Kishi gradually lost her influential supporters, and was not blessed with brothers or imperial princes (i.e., sons) on whom she could rely.
Japanese: しかし当時の後宮は中宮安子を始めとして摂家出身の妃が多く、そんな中で徽子女王は最も高貴な出自故に有力な後見を欠き、また頼りになる兄弟や皇子にも恵まれなかった。
English: It is not clear whether it was the deaths of her maternal grandfather Tadahira and her father Shigeaki in particular, or her own illness, or because of her unique position as a former high priestess of Ise, but whatever the cause, it appears she had a tendency to shut herself up in rural seclusion and hardly ever made her way to Court.
Japanese: 特に外祖父忠平と父重明の死後は自身の病、また前斎宮という特異な身の上もあってか、なかなか参内せず里にこもりがちであったらしい。
English: And later, her father's widow FUJIWARA no Nariko (the younger sister of Empress Anshi) was summoned to court by Emperor Murakami may have contributed to Kishi's unease at the inner palace.
Japanese: 後に父の未亡人藤原登子（中宮安子の妹）が村上天皇に召されるという事件が起こったことも、徽子女王が後宮に落ち着かなかった一因であったろう。
English: On the other hand, the "Eiga monogatari" (A Tale of Flowering Fortunes) records Emperor Murakami as yearning for Kishi, 'a person of such nobility, such refinement,' and frequently sending for her.
Japanese: 一方で『栄花物語』は村上天皇が女御を「大層高貴で優雅な人」と恋しく思い、度々便りを使わしたと記している。
English: In reality, among the poems romantically exchanged between the Emperor and his ladies that are recorded in "Emperor Murakami's Imperial Poetry Anthology" and other collections, the poems sent to and by Queen Kishi, especially the courting poems before she entered the court, stand out from the rest, and are quite numerous.
Japanese: 事実『村上御集』等に残る天皇と妃たちの相聞歌の中でも、入内前の求愛の歌を始め徽子女王と交わした詠歌は群を抜いて多い。
English: Considering the level of harmony shown in these exchanges, it is easy to surmise that the affection Emperor Murakami felt towards Queen Kishi was anything but slight.
Japanese: そのやりとりの睦まじさを見ても、徽子女王に対する天皇の寵愛が決して浅いものではなかったことが想像される。
English: After Emperor Murakami's death several celebrated poets, including MINAMOTO no Shitago, ONAKATOMI no Yoshinobu, and TAIRA no Kanemori, frequently came to visit Queen Kishi and her daughter Imperial Princess Kishi at their home, where they organized poetry contests and other activities; she gathered together a popular and elegant literary salon, taking over leadership of the poetry circles of Emperor Murakami's court.
Japanese: 村上天皇の崩御後は源順、大中臣能宣、平兼盛ら著名な歌人たちが徽子女王・規子内親王母娘の元に出入りして度々歌合せなどを催し、村上朝の歌壇を引き継ぐ風雅のサロンとして評判を集めた。
English: Moreover, Queen Kishi was close and affectionate with many ladies, including Imperial Princess Ippon-nomiya Shishi and Imperial Princess Daisai-in Senshi (both daughters of Emperor Murakami and Empress Anshi) as well as FUJIWARA no Koshi, Empress to Emperor Enyu, and occasionally exchanged quite delicate letters with them even after traveling together with her daughter Imperial Princess Kishi to Ise.
Japanese: また一方で一品宮資子内親王や後の大斎院選子内親王（共に村上天皇皇女、母は中宮安子）、円融天皇中宮藤原こう子等との交流も親しく、規子内親王と共に伊勢へ下向した後も折に触れてこまやかな便りを交わしている。
English: Most of Queen Kishi's extant poems are known today because they were included in her (posthumous) personal waka anthology, the "Saigu nyogoshu," and in her graceful, elegant melodies, called Ito ate ni namamekashu (Very Noble and Bewitching), one can catch glimpses of the true refinement of Queen Kishi's character.
Japanese: 現在残る徽子女王の詠歌の多くは没後編纂された私家集『斎宮女御集』によるものであり、たおやかで優婉な調べは「いとあてになまめかしう」あったという斎宮女御その人の高雅な人柄を窺わせて趣深い。
English: Many of her poems were included in the imperial waka anthologies, notably the first appearance of the "Shui wakashu" (Collection of Poetic Gleanings), making her stand out both in quality and quantity from the crowd of poets even of successive generations, and is one of the pair of matchless jewels, Saio kajin (poet-priestesses), along with Imperial Princess Sai-in Shishi, who came after her.
Japanese: 初出の『拾遺和歌集』を始めとする勅撰集にも数多く入集しており、歴代の中でも質量共に際立っている点において、後の斎院式子内親王と並ぶ双璧として名高い斎王歌人である。
English: One of only five women counted among the 36 Immortal Poets, and moreover the only member of the Imperial family so selected, Queen Kishi's portrait occupies a prominent place even among portraits of the subsequent Immortal Poets.
Japanese: 三十六歌仙の中でも五人しかいない女性の一人で、しかも唯一の皇族歌人である斎宮女御は、後の歌仙絵の中でも際立った存在感を示している。
English: Among the various styles of portrait composition known, it was most common to show people of noble birth seated on tatami mats with dyed rims, their figures hidden behind beautiful screens.
Japanese: 絵柄は数種の構図が知られており、高貴な身分を示す繧繝縁の畳に伏し美麗な几帳の陰に姿を隠したものが最も一般的である。
English: And in Satake's famous volume, the handscroll showing the portraits of the 36 Immortal Poets, which is the oldest surviving work depicting them, among the vast majority of the figures shown seated in sokutai (ceremonial court robes) and sumptuous twelve-layered kimonos, one, Queen Kishi, is shown in a more relaxed posture, in uchiki-sugata (informal dress), modestly hiding her face from view; she is painted beautifully, with vivid colors, and her appearance reflects a truly regal quality, secluded there deep in her inner rooms.
Japanese: 現存最古の作品として名高い佐竹本三十六歌仙絵巻でも、束帯や華麗な十二単の正装に居住まいを正す歌仙が大半を占める中で、一人くつろいだ袿姿で慎ましく顔を伏せた斎宮女御は、いかにも深窓の姫君らしい気品漂う姿が華やかな色彩で美しく描かれている。
English: And indeed, in 1919 when the Satake volume was cut up into its individual portraits and sold, the price for the portrait of Queen Kishi surpassed that for all the other Immortal Poets, even ONO no Komachi.
Japanese: なお、大正8年（1919年）にその佐竹本が切断・売却された際には、六歌仙の一でもある小野小町をも上回って斎宮女御に三十六歌仙中最高の価格が付けられたといわれる。
English: Chogetsu (1714-June 15, 1798) was a mid-Edo period monk and poet.
Japanese: 澄月（ちょうげつ、正徳(日本)4年（1714年）-寛政10年5月2日(旧暦)（1798年6月15日））は、江戸時代中期の僧・歌人。
English: He came to the capital at the age of thirteen, and initially ascended Mt. Hiei and began learning Tendai sect teachings, but later changed his sect to the Jodo (Pure Land) school.
Japanese: 13歳で上洛、当初比叡山に登り天台教学を修めたが、その後浄土教に転宗した。
English: Tona (1289-April 17, 1372) was a Japanese monk and waka poet who lived in the final days of the Kamakura period and into the Northern and Southern Court period.
Japanese: 頓阿（とんあ、正応2年（1289年）-文中元年/応安5年3月13日(旧暦)（1372年4月17日））は、鎌倉時代後期から南北朝時代(日本)の僧・歌人。
English: Next he studied under Tameyo NIJO, and went on a walking tour of several different provinces in honor of his hero Saigyo, leading the lifestyle of a recluse by, among other things, building a thatched hut on the historic site where Saigyo had lived at Sorin-ji Temple in the Higashiyama area of Kyoto.
Japanese: 二条為世に師事し、西行を慕って諸国を行脚、京都東山双林寺の西行の旧跡に草庵を構えるなど隠遁者の生活を送った。