nntsuzu/KFTT huggingface dataset:
English: Although playing minshingaku was restricted during the Sino-Japanese War, minteki (shinteki) was favored by young people until Taisho period because of its major scale.
Japanese: 日清戦争に際して明清楽は制限されたが、明笛（清笛）は長音階になっていることから大正時代まで青少年に愛奏された。
English: The phrase 'denden-daiko ni sho no fue' (a small toy drum and sho flute) is seen in a lullaby, but this is considered to be a different instrument because sho was not a musical instrument for common people.
Japanese: 子守唄の歌詞に「でんでん太鼓に笙の笛」というものがあるが笙は市井の楽器ではないためこれは別のものを指すと考えられる。
English: It is a large sho whose tone is an octave lower than that of the sho and was once used in gagaku, but it became obsolete in the middle of Heian period.
Japanese: 大型の笙で、笙より1オクターブ低く雅楽に用いられたが、平安中期に廃れた。
English: Those consisting of one bamboo pipe with finger holes is called the dosho, while panpipe-type ones comprised of a set of several long and short pipes with no finger holes is called the haisho.
Japanese: 竹管一本で指孔のあるものを洞簫（どうしょう）、指孔なしで長短数本を一組にしたパンパイプ型のものを排簫（はいしょう）と呼ぶ。
English: It is used in koten-honkyoku (traditional Japanese music) (solo, multiple instrumental music), sankyoku-gasso (a type of ensemble method) and the accompaniment of folk music.
Japanese: 古典本曲（独奏・重奏曲）、三曲合奏、民謡の伴奏などに用いられている。
English: At present, products which use the root of the madake as material and are tuned by applying 'ji' (paste), such as lacquer, on the inside of the pipe are generally used.
Japanese: 現在は、真竹の根元を用い、管内に漆などの「地」（じ）を塗り重ねる内径調整によって調律されたものが一般的である。
English: An okura-aulos is a metal-made tatebue, which was invented in 1935 by the flute player Hirabayashi in response to a request by Kihachiro OKURA, that consists of a flute pipe and a shakuhachi mouth.
Japanese: 1935年に大倉喜七郎の希望により、フルート奏者平林が開発した楽器で、フルートの管体に尺八の吹口をつけた金属製の縦笛である。
English: Six versions such as Piccolo, sopranino, soprano, alt, tenor, and bass were produced.
Japanese: ピッコロ、ソプラニーノ、ソプラノ、アルト、テノール、バスの6種が作られた。
English: Stones with holes are sometimes found at ancient ruins, and there is the opinion that these might be musical instruments.
Japanese: 古代の遺跡から穴の開いた石が発掘されることがあり、楽器ではないかという意見がある。
English: Some holes are artificially bored while some are natural, and some holes completely penetrate the stones while others do not.
Japanese: 人工的に穴が穿たれたもの、自然に穴の開いたものがあり、貫通型と非貫通型もある。
English: In Japan, conches were generally used since horns could not be obtained easily.
Japanese: 日本では角がそれほど入手できなかったため、ホラガイの方が一般的であった。
English: In Japan, it sometimes refers to a rustic bamboo yokobue (shinobue) produced by an amateur (as is the case for the use of the "kusa" prefix in kusayakyu [sandlot baseball] or kusakeiba [local horse race]).
Japanese: また、日本では素人作りの田舎じみた竹の横笛（篠笛）を指す場合がある（草競馬、草野球などと同様の用法）。
English: A jar-shaped gall on the leaf of the Distylium racemosum tree is known as a 'hyon no mi' (literally, hyon nut) and the empty gall that remains when the insect has left is blown as a fue.
Japanese: イスノキの葉にできた壺形の虫こぶを瓢の実といい、その中の虫が飛び出して中空になったものを笛として吹き鳴らすもの。
English: Many kinds of fue are used to produce sound effects for plays (geza [off-stage] music for Kabuki, and so on) or luring game, and some are also used as toys.
Japanese: 芝居（歌舞伎の下座音楽など）の効果音として使うもの、狩で獲物を誘い出すために使うものが多く、玩具としても使われる。
English: Although it was once used in plays, a recording of a horse is usually used nowadays because of the difficulty of playing the uma.
Japanese: 芝居で使われたが、演奏法が難しいため現在は実際の馬の鳴き声を録音したものが使われることが多い。
English: A sound signal which ships and lighthouses emit when visibility is low due to dense fog in order to make their location known.
Japanese: 濃霧などのため視界不良のとき、船や灯台などが位置を知らせるために鳴らす音響信号。
English: A kuchibue-like sounds which ama (female pearl divers) produce when they breathe out after having surfaced.
Japanese: 海女が水中での仕事を終えて水面に顔を出したとき、詰めていた呼吸を戻す音が口笛のように鳴るもの。
English: Although the above differs from the original meaning of fue, the term "fue" has long been used to refer to nodobue.
Japanese: 本来の意味の笛とは異なるが、古くから単に「笛」でこれを指すこともある。
English: In Confucianism, 'humanity,' 'justice,' 'courtesy,' 'wisdom,' and 'faith' are considered as five eternal virtues, and they are also referred to as Gojo (five eternals).
Japanese: 儒教においては「仁」「義」「礼」「知」「信」の五つの徳をいい、たんに五常ともいう。
English: The metal gotoku, which was three or four legged, as seen today, is known to be produced during the Kamakura period.
Japanese: 鎌倉時代には、現在にみられる三脚または四脚の鉄製の五徳が作られていた。
English: Although the sound of the word gotoku may suggest a deeper connotation and some interpret it with a labored emphasis on the connection with its homonym gotoku (five virtues), the etymology of the word has no relation to it as it is explained below.
Japanese: 字を見ると一見意味が有りそうな感じであり、無理に五つの徳を上げる向きもあるようだが語源は次の通りである。
English: Since early times, the people used either jizaikagi (pot hook) or gotoku when they cooked using a pot or a kettle over an irori (open hearth).
Japanese: 昔から囲炉裏において鍋や釜で煮炊きをするときは、自在鈎を用いるか又は五徳を用いる。
English: It was called "kudoko," and has its origin in "kanae," which was a three-legged container of the ancient times.
Japanese: これは古くは竈子（くどこ）と呼ばれたもので、古代の鼎に由来するものである。
English: The tea pot called 'charo' or 'furo,' which was used indoor, came to be in use when the tea ceremony started at that time.
Japanese: すなわち、茶道の始まりと共に室内で用いる茶釜「茶炉」又は「風炉」があらわれた。
English: As such, 'gotoku,' a reverse reading of 'kudoko,' was adopted as the new name for the inverted equipment, and the Chinese characters meaning 'five eternal virtues' were appropriated for the word gotoku.
Japanese: これにより「くどこ」を逆にして「ごとく」と呼び、五徳の字を充てたものである。
English: There are various examples of gotoku, such as those with the nail (kaeshi) part (the tips of the legs of gotoku) in the shape of the head of viper or cow, or those with long or square nails, designed and made by Yojiro TSUJI, a caster active during the time of the tea master SEN no Rikyu.
Japanese: 形もいろいろなものがあり、千利休時代の與次郎作で爪が、まむし頭、長爪、牛爪、方爪などが造られたという。
English: The gotokumon-designs include 'maru-gotoku' (circular gotoku), 'mamukai-gotoku' (facing gotoku), 'gotoku-bishi' (diamond gotoku), and 'sue-gotoku' (sitting gotoku).
Japanese: 図案には「丸五徳（まるごとく）」「真向い五徳・五徳（まむかいごとく・ごとく）」「五徳菱（ごとくびし）」「据え五徳（すえごとく）」などがある。
English: For adopting the gotokumon as a family crest, the pun for the Confucian gotoku ('humanity,' 'justice,' 'courtesy,' 'wisdom,' and 'faith') was intended, as well as for the other set of five Confucian virtues, 'calmness,' 'sincerity,' 'respect,' 'modesty,' and 'selflessness.'
Japanese: 使用については、儒教の「仁・義・礼・智・信」の五徳にかけたともされ、また「温・良・恭・倹・譲」にも通じるという。
English: There appear the various depictions of what can be called the archetype of Tsukumogami (a kind of specter) in "Tsuchigumo zoshi" (Tales of the Giant Spider) written in the Kamakura period (circa 1185 – 1333), and in it, there is a depiction of a 'monster, who is half-gotoku and half-cow.'
Japanese: 鎌倉時代（かまくらじだい、1185年頃-1333年）の『土蜘蛛草子』には、九十九神（つくもがみ・妖怪の一種）の原型ともいえる描写があり、その様々な妖怪の描写の中には「五徳と牛が合体したもの」が描かれた。
English: Later during the Heian period and the Edo period, gotoku-specters, or half-gotoku and half-horse specters were often depicted in picture-scrolls and ukiyo-e prints.
Japanese: 以降も平安時代や江戸時代において、絵巻物や浮世絵などで、五徳や五徳と牛が一体になった妖怪が描かれた。
English: Gotoku was a ritual item for a magic carried out in order to put a curse on someone, called 'ushi no koku mairi' (the visit at midnight), which is known to have been practiced as early as the Heian period.
Japanese: 平安時代にはすでにあったといわれる「丑の刻参り」という、人を禍に陥れる呪術において、五徳は儀式の上での道具であった。
English: It is said that for the ritual, the practitioner wore gotoku with candles attached to it on his/her head, dressed in a white gown, and visited a place where the sacred tree was planted, on the shaft of which he/she drove a nail, in order to break the barrier between this world and the underworld, and conjured cow-like specters.
Japanese: 五徳を頭に被って、そこにロウソクを立て、白装束を身に纏うといったいでたちで、丑の刻（深夜）に神木のある場所に出向いて、結界を破るために釘を打ち込み、牛などの姿をした妖怪を呼び出したといわれる。
English: As mentioned above, gotoku was often compared to the head a cow or its horns, as it is also suggested by the fact the some types of the shapes of the nail (kaeshi) and leg part of the gotoku are referred to as a cow.
Japanese: 上記にもあるように五徳の脚の爪（かえし）の形状の種類にも牛という言葉が使われており、五徳を牛の頭部や角に見立てたことが窺える。
English: Sumi refers to soot derived from substances such as lampblack or burnt pine, solidified by mixing with gelatin (solid sumi).
Japanese: 墨（すみ）は、ランプブラックや松煙などから採取したススをゼラチンで練り固めたもの（固形墨）いう。
English: Unlike ancient sumi, chemically synthesized substances are used as main ingredients in some cases of bokuju.
Japanese: 墨汁には古来の墨と異なり化学的に合成された物質が原材料として使われている場合もある。
English: It is considered that sumi ink was in use at the same time inscriptions of ancient Chinese characters on oracle bones and tortoise shells developed during the Yin Dynasty
Japanese: 殷の時代に発達した亀甲獣骨文字とときを同じくして使用されたと考えられる。
English: The oldest Japanese ink writing that exists today is said to be the character 'ta' (rice field), which was marked on a late second century clay pot unearthed from the Kaizo ruins in Ureshino-cho, Mie Prefecture (Mie Prefecture) (present-day Matsuzaka City).
Japanese: 現存する日本最古の墨書は、三重県嬉野町(三重県)（現在は松阪市）貝蔵遺跡で出土した2世紀末の土器に記されていた「田」という文字であるとされている。
English: The first mention of sumi in Japan was a description of Chinese sumi in "The Nihonshoki" (Chronicles of Japan).
Japanese: 日本では、『日本書紀』に中国の墨について記されているのが初出である。
English: Inksticks made from burnt pine in Nara Wazuka during the latter half of the Nara period are considered to be the very first ones made in Japan.
Japanese: 国内で作られたものとしては、奈良時代の後期、奈良和束の松煙墨が初めてとされる。
English: Therefore, when used on paper, the shin (the core) (the stroke made with the brush) and the nijimi (the portion of calligraphic work that seeps outward through the paper, blurring the edges of the brush stroke) are difficult to distinguish.
Japanese: したがって、紙に書いた場合、芯（筆で書かれた部分）と滲みの区別がわかりにくい。
English: The ink color gains three-dimensionality, and it is said that variation in the ink color according to the brush movement, such as the shin and nijimi, takes on aesthetic expression.
Japanese: 墨色に立体感が出て、筆の運びにしたがって芯や滲みなど墨色の変化が美しく出るとされる。
English: For the blue ink, besides the soot itself having a bluish color, some may be further colored with indigo (plant).
Japanese: 青墨には、煤自体が青く発色するもの以外に、アイ(植物)などで着色するものもある。
English: As for the manufacturing method, it is made by putting oil and lighting a wick in a clay pot, and by collecting the soot that forms on the lid of the clay pot.
Japanese: 製法は土器に、油を入れ灯芯をともし、土器の蓋についた煤を集めて作る。
English: For the oil, Chinese cozla is considered to be the most suitable, but others, such as sesame oil, soy bean oil, camellia and paulownia are also used.
Japanese: 油は、アブラナが最適とされるが、他にゴマ油や大豆油、ツバキ、キリなどがある。
English: Collagen (animal protein) extracted from animal bones, skin and tendons is used for gelatin in the production of sumi.
Japanese: 墨の製造で使われるゼラチンには、動物の骨や皮、腱などから抽出したコラーゲン（動物性タンパク質）が用いられる。
English: High-quality binders use deer, but cows, pigs and rabbits are normally used, and fish is used for the inexpensive product.
Japanese: 高級なものでは鹿、通常は牛や豚、羊、ウサギなど、安価なものでは魚などが使われる。
English: Chemically synthesized resin (whose ingredients are similar to those of adhesives) may be used in order to make up for it.
Japanese: それを補うものとして、化学的に合成された合成樹脂（接着剤と同様な成分）が用いられることもある。
English: Whether it's solid sumi or liquid sumi, the components of animal glue deteriorate over time.
Japanese: 固形墨においても墨液においても、年月が経てば膠の成分が変質して弱くなる。
English: However, the animal glue withers with time, and the extent of nijimi increases, expanding the freedom of expression with the tones of sumi color.
Japanese: しかし、年月を経ると膠が枯れ、滲みも増えて墨色の表現の自由度が広がる。
English: Because the animal glue is animal protein, it becomes more viscous and turns into a gel at low temperatures, which is not appropriate for calligraphic work.
Japanese: 膠は動物性蛋白質であるため低温下では粘性が増しゲル化・ゼリー状になり、書作に適さなくなる。
English: During the 1880's, Seiji TAGUCHI, an elementary school teacher, came up with the idea of making liquid sumi when he saw his students grinding sumi with cold water during winter.
Japanese: 明治20年代、小学校教員をしていた田口精爾が冬場に冷たい水で墨をする生徒達を見て液体の墨を作る事を発起。
English: He studied applied chemistry at Tokyo Vocational School (present-day Tokyo Institute of Technology), and he later invented bokuju.
Japanese: 東京職工学校（現・東京工業大学）で応用化学を学び、その後、墨汁を発明。
English: In 1898, he named it 'Kaimei Bokuju' (Kaimei liquid sumi ink) and commercialized it, and he founded Taguchi Company (present-day KAIMEI & Co., Ltd.) in Tsukudo Hachiman, Ushigome Ward (present-day Shinjuku Ward).
Japanese: 1898年（明治31年）に「開明墨汁」と名付け商品化し、田口商会（現在の開明株式会社）を牛込区築土八幡（現在の新宿区）に創業した。
English: There are some bokuju that use industrially produced carbon black (carbon) (in some cases, this carbon has almost the same constituents as toners used in copy machines) when compared to naturally derived soot.
Japanese: 墨汁には天然由来の煤ではなく工業的に作られたカーボンブラック（炭素）を使っているものがある（このカーボンは、複写機などで使われるトナーとほとんど同じ成分である場合もある）。
English: In addition, there are those that use chemically synthesized, adhesive-like resin instead of animal glue.
Japanese: また膠の代わりに接着剤のような化学的に合成された樹脂を使っているものがある。
English: The preservatives in liquid sumi deteriorate over time, and it is said that it decays in about two years.
Japanese: 液体墨の防腐剤は時間がたてば弱くなり、およそ2年程で腐ると言われている。
English: Therefore, when using an expensive brush, one should avoid using low-quality liquid sumi.
Japanese: そのため、高価な筆を使う場合は粗悪な墨液を使うことは避けるべきである。
English: In addition, there is a cautionary note stating that liquid sumi that has once been poured out of the container should not be returned to the container.
Japanese: また、一度容器から出した墨液は戻さないように注意が書いてあることがある。
English: Various methods are used such as, grinding sumi with the tip of a finger to create fine particles to adjust the desired ink color.
Japanese: 一例として指の腹などで墨を磨り直し、粒子を細かくするなどして、好みの墨色に合わせるなど、いろいろな方法が取られている。
English: Furthermore, the amount of water and the quality of the water, such as whether the water is hard or soft, compatibility with the paper, temperature and humidity of the day when the sumi is used all affect the color of the sumi as well as how the sumi expands.
Japanese: また水の量や硬水・軟水など水の硬度、紙との相性、書く日の気温や湿度によっても墨色や墨の広がりなどが変わってくる。
English: Some people use the mouth to suck on the brush with sumi on it when cleaning, but it is necessary to be aware of the health hazards in doing this.
Japanese: 墨がついた筆を洗う際に口で吸う人もいるが、健康被害などに気をつける必要がある。
English: Therefore, one should especially be careful when instructing foreigners to put the brush in the mouth.
Japanese: したがって、口に含むような指導は外国人に対しては特に気をつけるべきである。
English: Suzuri is a stationery made of stone or kawara (the clay tile of the roof) that sumi (ink) stick is ground on it with water.
Japanese: 硯（すずり）とは、墨を水で磨り卸す為に使う、石・瓦等で作った文房具である。
English: The case in which keeps the suzuri and other writing instruments is called suzuri-bako (suzuri case) and there are many excellent crafts since ancient times.
Japanese: 硯及び附属する道具を収める箱を硯箱といい、古来優れた工芸品が多数ある。
English: Today, the material of Japanese suzuri is slate, Ogatsu-ishi stone in Ishinomaki City of Miyagi Prefecture or Nachiguro-ishi stone in Kumano City of Mie Prefecture.
Japanese: 現代の日本の硯の材料は、宮城県石巻市で採れる雄勝石や三重県熊野市で採れる那智黒石等、玄晶石（粘板岩）である。
English: For a craftsman, plaining the smooth curve between umi, which stores ink and raised riku is the most difficult part.
Japanese: 職人が硯を作るときには、墨を入れる海ともりあがっている陸の間の、滑らかなカーブ状の場所を削るのが、最も苦労する場所となる。
English: Among a variety of suzuri according to the localities, materials, forms and the decoration of the engravings, the famous suzuri are Tankeiken (Duanshi ink stone) and Kyujuken (Shezhou ink stone).
Japanese: 産地、材質、形式、彫刻の模様などにより様々な種類の硯があるが、中でも端溪硯（たんけいけん）、歙州硯（きゅうじゅうけん）が有名である。
English: Among the different grades of the ink stones, the superior Tao River stone and Songhua stone suzuri have excellent grinding and coloring qualities for the ink stone although they are not well used.
Japanese: 広くは使用されていないが、桃河緑石や松花石硯など、ピンキリだが上級品は大変墨の降り・発墨に優れている。
English: About 100 km away from the east of Guangzhou City of Guangdong Province in China, there is a town named Zhaoqing.
Japanese: 中国広東省広州市の西方100kmほどのところに、肇慶（ちょうけい）という町がある。
English: This town is faced to the Xi Jiang river and has Mt. Fuka in the east.
Japanese: この町は西江という河に臨んでいて、東に斧柯山（ふかざん）がそびえる。
English: The mountain stream that meanders between rock mountains and flows into the Xi Jiang river is known as tankei.
Japanese: この岩山の間を曲がりくねって流れ、西江に注ぐ谷川を端溪（たんけい）という。
English: The Duanshi ink stone has been used since the Tang period and became very populer when it was mass producted in the Song (Dynasty).
Japanese: 端溪の石が硯に使われるようになったのは唐からで、宋(王朝)に量産されるようになって一躍有名になった。
English: The light green spots in the beautiful, purple-based color stone are referred to as the 'gan' (eyes).
Japanese: 紫色を基調にした美しい石で、石の中の淡緑色の斑点を「眼（がん）」という。
English: The bird's eyes-like patterns are insects fossils and are greatly prized although they are not related to practical use.
Japanese: 鳥の眼のようなこの模様は虫の化石であり、実用には関係ないものだが大変珍重される。
English: The Duanshi stone is good for fine stone engraving and there are many ink stones engraved in different styles.
Japanese: 端溪の石は細かい彫刻にも向き、様々な意匠の彫刻を施した硯が多く見られる。
English: The value of Dunashi ink stone depends on with or without the gan, sophistication of the engraving, the tone of the color and the decorations.
Japanese: 端溪硯の価値は、眼の有無、彫刻の精巧さ、色合い、模様などによるものである。
English: Neighboring Mt. Huang know as a sightseeing spot, this area is a mountain range with numberless monstrous rock peaks.
Japanese: 付近には観光地として知られる黄山があり、この辺りは奇怪な岩石の峰が無数に林立する山岳地帯である。
English: While the Duanshi ink stone has feminine luster, the Shezhou ink stone is blue-based black having masculine solidness and excellent quality.
Japanese: 歙州硯は端溪の女性的な艶やかさに比べ蒼みを帯びた黒色で、男性的な重厚さと抜群の質を持つ。
English: The Shezhou ink stone has sharp and powerful grinding to create extremely black ink while the Duanshi ink stone has soft grinding.
Japanese: 磨り味は端溪の滑らかさと違って、鋭く豪快に実によくおり、墨色も真っ黒になる。
English: This suzuri is characterized as showing 'ramon,' wave-like patterns like layers of silk fabrics create.
Japanese: この硯は、うす絹を2枚重ねた時にあらわれる波のような模様、「羅紋（らもん）」が特徴である。
English: The more fine, dense and homogeneous particles enable more excellent sumi ink.
Japanese: この鋒鋩が細かく密に、そして均一に散りばめられているほど墨色は美しく出る。
English: Good suzuri makes sumi more stuck to the suzuri; the force that removes the ink causes peeling off the surface of the suzuri.
Japanese: 良い硯ほど墨が貼り付いてしまい、無理に取ろうとすると硯の面が剥がれてしまう。
English: The term "Suribachi" (mortar) refers to cookware that is used to grind food materials into small grains or mash them up into paste.
Japanese: すり鉢（すりばち、擂り鉢）とは、食材を細かな粒子状に砕いたり、ペースト状にすりつぶす加工を行うための調理器具である。
English: As the word 'suribachijo' (shape of suribachi) shows, it is shaped like an inverted circular cone, which is narrow at one end, has sloping sides, and is round at the other end.
Japanese: 形状は「すり鉢状」という言葉があるように、円錐を逆にしたような形で、下がすぼまり上に行くほど径が大きくなる。
English: It has kushime (radial ridged pattern) inside of the mortar, which makes it possible to grind food materials efficiently requiring a little power.
Japanese: 鉢の内側には櫛目（放射状の縦の溝）が付けられており、溝に食材が引っかかるために、少ない力で効率よくすりつぶせる。
English: It is used together with a rod-shaped pestle, and food materials are ground by rotating the pestle to the left as if rubbing them against the inside of the Suribachi.
Japanese: 棒状のすりこぎと対で使われ、すり鉢の内側にこすり付けるようにすりこぎを左に回して材料をすりつぶして行く。
English: In addition, since the word 'Suru' is a word play which refers to the word 'drop money' which is found in the gambling and business world, it is often called Ataribachi (a hit bowl) or Ataribo (a hit stick) for good luck as well.
Japanese: なお、「する」という言葉が博打や商売で「お金をする」につながるとの語呂合わせから、縁起をかついであたり鉢、あたり棒と呼ばれることも多い。
English: Generally, a seven sun Suribachi is for one or two persons, an eight sun is for three or four, and a nine sun is for five to six.
Japanese: 目安としては、7寸で1～2人用、8寸で3～4人用、9寸で5～6人用である。
English: In a narrow sense, Suribachi cookware is unique to Japan as mentioned above, but in a broader sense, other cookware which are used for the same purpose in other countries are also called Suribachi in some cases.
Japanese: すり鉢は、狭義には上記に示した日本独自の調理器具であるが、広義には日本以外で利用されている同様の目的をもった調理器具も便宜上すり鉢と呼ぶことがある。
English: The first Suribachi in history appeared from the middle to the latter part of the Kamakura period, that is, from the end of the thirteenth century to the beginning of the fourteenth century, and was discovered in the kiln of Bizen yaki (Bizen ware) (such as Guibidani gama (kiln) and Kumayama sancho 9-go gama (No.9 kiln at the summit of Mt. kuma)).
Japanese: すり(擂)鉢が最初に登場したのは、鎌倉時代中葉から後半、すなわち、13世紀末～14世紀初頭頃で、備前焼の窯（グイビ谷窯、熊山山頂9号窯など）で発見されている。
English: Since around the sixteenth century, Suribachi began to be produced with an edge belt at the rim and the ridged pattern was also added as if to fill the gap.
Japanese: 16世紀頃から口縁部に縁帯をもつすり鉢が生産され、擂り目も隙間を埋め尽くすように施されるようになる。
English: It is said that 'Bizen Suribachi cannot be broken even if it is thrown,' and it dominated the market with other potteries in the Kansai region.
Japanese: 「備前すり鉢投げても割れぬ」と称され関西方面では他の器種とともに圧倒的なシェアを誇った。
English: The Suribachi of Bizen has a round shape from the bottom, when viewed from the side, and is almost shaped like a half sphere.
Japanese: 備前のすり鉢を横から見た形状は底部から丸く立ちあがるので、半球形に近い。
English: In the kiln of Shigaraki yaki (Shigaraki ware), Suribachi with a single ridged pattern in one unit appeared in the Goinoki gama (kiln) at the beginning of the fifteenth century, and Suribachi with four ridged patterns in a single unit appeared in Nagano No.3 kiln and Higashide gama (kiln) from the middle to the latter part of the fifteenth century.
Japanese: 信楽焼の窯では、15世紀初頭の五位ノ木窯で擂り目が1条1単位のものが出現し、15世紀中葉から後半頃の長野3号窯や東出窯で擂り目4条1単位のすり鉢が出現する。
English: In the latter part of the sixteenth century, the model that used seven ridged patterns in a single unit was adopted as if to fill the gap between the ridged patterns.
Japanese: 16世紀後半になると7本1単位の擂り目を隙間を埋め尽くすかのように施すようになる。
English: In the Seto-yaki (Seto ware), Suribachi with six ridged patterns in a single unit began to be produced in a kiln from the early to the middle of the fifteenth century (the kiln in the latter style of old Seto style).
Japanese: 瀬戸焼では、15世紀前半から中葉ころ（古瀬戸様式後期様式）の窯で擂り目6本1単位のすり鉢が生産され始める。
English: At the end of the fifteenth century, Suribachi with ten to twelve ridged patterns in a single unit, shaped radially in ten to twelve directions, appeared, and in the sixteenth century when big kilns were used, ridged patterns came to be shaped more closely.
Japanese: その後15世紀末に10～12本1単位の擂り目を10～12方向に放射状に施すすり鉢が出現し、16世紀の大窯期にさらに擂り目をぎっしりと施すようになる。
English: Additionally, in the Echizen-yaki (Echizen ware) kiln, Suribachi were also produced from at least the Muromachi period, and in the Tanba-yaki (Tanba ware) kiln, Suribachi having one ridged pattern in a single unit appeared from the middle to the latter part of the fourteenth century.
Japanese: このほか越前焼でもすり鉢が少なくとも室町時代から生産されており、丹波焼については、14世紀中葉から後半にかけての時期に1条1単位のものが現れる。
English: Since it was produced using the yakishime (pottery that is fired without any applied glaze) method and was tough, it dominated the markets over to the Kanto region in the early Edo period (the seventeenth centuries).
Japanese: 焼き締め陶で丈夫であることから江戸時代前半(17世紀)にはまたたくまに関東までのシェアを誇った。
English: However, in the eighteenth century, Suribachi made in Sakai, which had a semi-spherical shape and that imitated the Suribachi of Bizen, grabbed the majority share in eastern Japan.
Japanese: しかし、18世紀になると、備前を模倣し半球形を呈する堺産のすり鉢に東日本のシェアを奪われてしまう。
English: After that, the Suribachi made in Sakai gradually overwhelm those made in Seto and Mino due to its durability, until the end of the Meiji period.
Japanese: 以後、堺産は、その堅牢さから徐々に東日本で瀬戸美濃産のすり鉢も圧倒し、明治時代までその傾向が続く。
English: In addition, from the fifteenth to the seventeenth century, Suribachi created from soft earthenware called gashitsu doki (earthenware) were produced.
Japanese: また15～17世紀にかけて、瓦質土器と呼ばれるもろい土器のすり鉢が生産されている
English: Suribachi is sometimes used to date ruins in archaeology since its rim and number of ridged patterns change greatly according to its usage (a newer Suribachi has more ridged patterns).
Japanese: すり鉢は、口縁部の変化や擂り目の量の変化（新しくなるにつれて擂り目が増える）が著しい遺物であるため、考古学において遺跡の年代を決める編年の資料に使われることがある。
English: Shodo or Sho is a creative eastern art that expresses the beauty of characters by writing.
Japanese: 書道（しょどう）または書（しょ）とは、書くことで文字の美を表そうとする東洋の造形芸術である。
English: Originated in China, and Kana (syllabary) was derived from Kanji (Chinese characters) in Japan and Chu nôm was invented in Vietnam, as well as each unique calligraphic style has been established.
Japanese: 中国が起源であるが、日本においては漢字から派生した仮名(文字)、ベトナムではチュノムなどが発明されると共にそれぞれ独自の書風が作られている。