nntsuzu/KFTT huggingface dataset:
English: In the Edo period, processions were held to transport the chatsubo contained Uji tea, a special local product of the present day Uji City, Kyoto Prefecture, which was to be presented to the Tokugawa Shogun family; the route taken (Tokai-do Road, Nakasen-do Road) was called the 'Chatsubo journey.'
Japanese: 江戸時代には、現在の京都府宇治市の名産品である宇治茶を徳川将軍家に献上するため、茶を詰めた茶壺を運ぶ行列が行われ、その街道筋（東海道、中山道）は「茶壺道中」と呼ばれた。
English: This event that lasted from 1633 on up to the Tokugawa shogunate's collapse, continued to grow in scale until Yoshimune TOKUGAWA called for the thrift ordinance; at one point, it is said that the procession was of a size consisting of several hundred to several thousand people.
Japanese: 1633年から徳川幕府が倒れるまで続いたこの行事は、途中、徳川吉宗の倹約令が出るまで行列の規模はふくれあがり、一時は数百人から数千人の規模になったという。
English: The procession of the chatsubo which surpassed a rural lord's daimyo-gyoretsu (feudal lord's costumed procession) is still sung about today in an old children's song "zuizui zukkorobashi."
Japanese: 田舎の大名行列を凌ぐ茶壺の行列の様子は、現代でも童歌のずいずいずっころばしで歌い継がれている。
English: Imported products made in China are called 'Karamono' and those made in Korean Peninsula are called 'Koraimono,' but all other imports are particularly referred to as 'Shimamono.'
Japanese: 舶来製品の中で中国製を「唐物」、朝鮮半島製を「高麗物」と呼ぶが、これ以外を特に「島物」と呼んでいる。
English: Luzon: Earthenwares brought in via Luzon, Philippines (Refer to Chatsubo.)
Japanese: 呂宋（るそん）：フィリピンのルソン経由でもたらされた陶器（茶壺参照）。
English: Sahari: Refers to mainly copper mixed metals, but sometimes refers especially to Southeast Asian group products.
Japanese: 砂張（さはり）：銅を主とする合金であるが、特に東南アジア系統の製品を指すことがある。
English: Koma: Lacquerwares made in Thailand and other countries, named as the colored lacquer painted in a concentric circle style resembles a koma (spinning top).
Japanese: 独楽（こま）：タイなどで作られた漆器で、同心円状に塗られた色漆が回転する独楽に似ることから称される。
English: Kinma: Lacquerwares made in Thailand and Myanmar characterized by the fine line engraving pattern.
Japanese: 蒟醤（きんま）：タイ、ミャンマーで作られる漆器で、細かな線刻紋様に特徴がある。
English: Yodai-me (IV) Tojuro SAKATA (male, December 31, 1931 -) is a Japanese actor and kabuki actor.
Japanese: 四代目坂田藤十郎（よだいめさかたとうじゅうろう、1931年12月31日-）は、日本の俳優、歌舞伎役者。
English: He was also famous by his former stage name, Ganjiro NAKAMURA III; he has established a reputation for skillful acting and the unique atmosphere he achieves when he acts as both a man and a woman, not to mention his acting in love scenes and his family's traditional acting.
Japanese: 前名の三代目中村鴈治郎（さんだいめなかむらがんじろう）としても知られ、その芸風は和事や家の芸はもちろん、立役でも女方でも芝居の巧さと独特の雰囲気に定評がある。
English: Tojuro SAKATA is also one of the top actors of the modern kabuki and also acts as one of the class-leading members of the renaissance project of Kansai-Kabuki (kabuki in the Kansai region); additionally, he has organized a theatrical troupe "Chikamatsu-za troupe" to revisit the works of Monzaemon CHIKAMATSU from their origin.
Japanese: 現代歌舞伎の名題のひとりでもあり、また関西歌舞伎の復興プロジェクトでもリーダー格を務めるほか、近松門左衛門作品を原点から勉強し直すべく劇団『近松座』を結成している。
English: His acting as O-Hatsu (a polite form of the girl's name Hatsu) in "Sonezaki-shinju (a lovers' suicide in Sonezaki," a work by Chikamatsu created a sensation throughout Japan; he has played O-Hatsu more than 1,000 times and is continually elevating that record.
Japanese: また日本中にブームを巻き起こした『曾根崎心中』のお初役は初演以来1000回を越え、なお記録を更新中である。
English: In October 1941, he acted for the first time in his life as Kintoki in "Yaegiri-Kuruwa-Banashi," a story of Yaegiri working in a licensed quarters, at the Kado-za theater in Dotonbori when he succeeded to the stage name Senjaku NAKAMUA and became the second thereof.
Japanese: 1941年10月　道頓堀・角座にて『八重桐廓話』の金時で二代目中村扇雀を襲名し初舞台。
English: In February 1955, he left Shochiku, a movie company that solely supported the Japanese kabuki art, and joined Takarazuka Eiga Co., Ltd. (Takarazuka is the name of Japan's only girls' opera troupe, and "eiga" means "movies"), which was a dummy operation of the Toho movie company, as this company's actor under an exclusive contract.
Japanese: 1955年2月　松竹を離脱し、東宝のダミー会社・宝塚映画専属俳優になる。
English: In January 1957, he joined Toho as an actor under an exclusive contract, and that time he met Chikage OGI, who was one of the top stars of Takarazuka.
Japanese: 1957年1月　東宝専属俳優になり、この時に当時宝塚スターの扇千景と出会う。
English: In November 1991, he succeeded to the stage name Ganjiro NAKAMURA and became the third thereof when he played Izaemon of "Kuruwa-bunsho, Yoshida-ya (stories in an entertainment house called Yoshida-ya in a licensed quarter), and Jihei in "Shinju-Ama-no-Tsunashima, Kawasho."
Japanese: 1991年11月　歌舞伎座にて『廓文章・吉田屋』の伊左衛門、『心中天網島・河庄』の治兵衛で三代目中村鴈治郎を襲名。
English: In April 2005, he performed "Sonezaki-shinju" and "Boshibari" in Korea (Seoul and Pusan).
Japanese: 2005年4月　大韓民国（ソウル・釜山）で『曾根崎心中』『棒縛り』を上演。
English: In November 2005, he succeeded to the stage name, Tojuro SAKATA and became the fourth thereof, which is a great stage name in Kamigata-kabuki (the kabuki society in the Kansai region) when he played Yaegaki-hime, the princess of Jusshu-ko (10 kinds of incense), O-Hatsu of Sonezaki-shinju and Izaemon of Yuen-no-Tsuki in the all-actor show-up performance at the Minami-za theater in Kyoto (however, he didn't refer to himself as 'the fourth' in the New Year's performance at the Kabuki-za theater in 2006 but said the stage name was the one he had revived after its 231-year absence).
Japanese: 2005年11月　京都・南座顔見世にて十種香の八重垣姫、曽根崎心中のお初、由縁の月の伊左衛門で上方歌舞伎の大名跡・四代目坂田藤十郎を襲名（但し、2006年歌舞伎座の初春興行では｢四代目｣を名乗っておらず、231年ぶりに復活させた名跡であるとしている）。
English: When his stage name was Senjaku, he enjoyed huge popularity, especially when his performance of O-Hatsu was a big hit; his popularity was so great that everyone in the Kansai Region knew him.
Japanese: 扇雀当時、お初で大当たりをとった時の人気は凄まじく、特に関西では知らない人のいないほどだった。
English: Various companies even changed their names and trademarks to those that were related to Senjaku (this name is written in two Chinese characters meaning a Japanese folding fan and a sparrow, respectively) with Senjaku's permission.
Japanese: 中には本人許諾のもとで社号及び商標を扇雀にあやかったものに改名する会社まで現れた。
English: Since around 1960, Tojuro SAKATA often experienced problems associated with his seeing women outside the home, and those problems were often sensationalized as scandals by weekly magazines.
Japanese: 昭和30年代から、浮気騒動を起こすことがよくあり、週刊誌上をたびたび賑わせていた。
English: It is said that, in a car in which he and his wife, Chikage OGI rode during their honeymoon, he unashamedly disclosed to his wife (under the influence of liquor) the history of all of his relations with women, and proudly told the newly married woman how he had dealt with those women, etc.
Japanese: 夫人・扇千景との新婚旅行の車中では、酔った勢いで、自身の女性遍歴を悪びれることなく全て打ち明け、その相手への対応方法などを、堂々と新妻に語ったと言われている。
English: Relating the above, he confessed in a column "Watashi no rirekisho" (my résumé) in the Nihon Keizai Shinbun newspaper that this marriage of his with Ogi was also a shotgun wedding.
Japanese: ちなみにこの扇との結婚もできちゃった結婚であったことを、日本経済新聞に連載したコラム『私の履歴書』で白状している。
English: It is also said that, before marrying Ogi, he was in love with a geisha in Kyoto and that, when the geisha came to see his stage work, he performed using a Japanese folding fan that carried the emblem of his stage family name, Narikoma-ya (in those days) on its front side and the emblem used by the geisha on its back side.
Japanese: また、扇と結婚する前は、京都に相思相愛の芸妓がいたと言われており、その芸妓が自身の出演している舞台に訪れると、表は成駒屋（当時）の紋、裏はその芸妓が用いていた紋をあしらった扇で、舞台を務めたと言われる。
English: In 2002, when his stage name was Ganjiro, it was scooped by a weekly photo magazine that, when he secretly saw an apprentice geisha (later on, a geisha) of Kyoto at a hotel, he opened his bathrobe and exposed himself.
Japanese: 鴈治郎時代の2002年、京都のある舞妓（後に芸妓）とホテルで密会し、バスローブをはだけて、自身の陰部を露出させたことが写真週刊誌にスクープされた。
English: He was criticized by those who did not know of all his previous deeds, who said, 'It's surprising... even a living national treasure is but a performer... I was really surprised...'; however, even in such a situation his wife, Ogi, made an introductory remark, saying, 'It's because he is just a performer...' and commented by saying, 'He always needs ladies (including those not young) in order to live,' and, 'If he isn't popular among ladies, I won't be interested in him'; thus she showed her generosity with such a statement befitting a goddess among wives of performers.
Japanese: これまでの彼の行動を知らない人たちから「驚いた。人間国宝でも所詮芸人か。ほんとうに驚いた」と批判をくらったが、そのときも夫人・扇は「彼は芸人ですから」と前置きした後で、「彼は常に女の人（若い子でなくともよい）がいないとダメですから」「女性にモテない夫なんてつまらない」とコメント、役者女房の神様のような発言を行い、度量の大きさを見せた。
English: However, at a press conference, when entertainment-field reporters admired him, saying, 'You are very active,' he replied by saying, 'Thank you for proving that I am active, ha, ha,' whereupon he laughed energetically and made a comment that showed his still remarkable reserve of power, saying, 'Do not get old... I would like all Japanese men to be active.'
Japanese: 一方の本人は記者会見で芸能リポーター達から「お元気ですねぇ～」と感嘆され、「（週刊誌の記者に）自分が元気だという事を証明して下さって、ガハハ!」と豪快に笑い、「老け込んだら駄目。日本の男性たちもみんな頑張ってほしいね」と余裕のコメントを残した。
English: He has a younger sister, Tamao NAKAMURA; a wife who was an ex-star actress of Takarazuka and an ex-president of the House of Councilors; the first son, who is Ganjaku NAKAMURA (V); and the second son, who is Senjaku NAKAMURA (III).
Japanese: 妹が中村玉緒で、夫人が元宝塚スターで参議院議長だった扇千景、長男に中村翫雀(5代目)、次男に中村扇雀(3代目)がいる。
English: Gekkin (Chinese name: yueh-chin, yueqin; English name: moon guitar, moon-zither; and Vietnamese name: {-D}{a`}n nguy{e^.}t) is a traditional musical instrument in China, Japan and Vietnam.
Japanese: 月琴（げっきん、中国語名yueh-chin,yueqin、英語名moonguitar,moon-zither、ベトナム語名Đànnguyệt）は中国・日本・ベトナムの伝統楽器。
English: It is a plucked string instrument of the lute family and has a round sound box and a short neck.
Japanese: リュート属の撥弦楽器で満月のような円形の共鳴胴に短い首（琴杵）を持つ。
English: The number of strings differ depending on the period and country and it has typically two to four strings and, in the case of four strings, two courses of paired strings are strung.
Japanese: 弦数は時代や国によって違うが大抵2〜4弦で、4弦なら複弦を2コースずつ張る。
English: For strings, silk yarn was used in the past and wire was also used later and, at present, nylon steel yarn is the main stream.
Japanese: 弦は、昔は絹糸であったのだが後に針金を張ったものも多く、現在はナイロン鋼糸弦が主流。
English: Pressing the strings ten to twenty-four frets with finger, and the string is picked to make sound.
Japanese: 10品から24品の品に弦を親指以外の指先で押さえつけて弾片（ピック）で弦を弾いて音を出す。
English: When playing, the player sits on a chair and places the gekkin on the thigh and play keeping the sound chamber a little away from the player.
Japanese: 演奏時は椅子に座りながら月琴を腿の上に置き胴を自分の体から少し離して弾く。
English: Some gekkin are provided with a mechanism called narido in the sound chamber; in the narido, unstable metal parts are equipped and sound is made by swinging or hitting it.
Japanese: 胴内に不安定な金具が仕込んであり、それを振ったり叩いて音を鳴らす、鳴り胴と呼ばれる機構を備えたものもある。
English: The root is said to be ruanxian (4 or 5-stringed Chinese lute) or ruan, but it is not clearly known.
Japanese: 起源は阮咸琵琶や阮と呼ばれるものであるとされているが、よくわかっていない。
English: The Yi, a minority race, play a gekkin with a hexagonal sound chamber and a gekkin with a long neck.
Japanese: 少数民族の彝族が持つ胴が六角形の六角胴月琴や、首の長い長棹型月琴もある。
English: While a gekkin used for Ming-era Chinese music is "ruanxian" (4 or 5-stringed Chinese lute) with a long neck, the "gekkin" used for Xing-era Chinese music is one with a round sound chamber.
Japanese: 明楽の「月琴」が棹の長い「阮咸」であるのに対して、清楽の「月琴」は胴の丸い円形胴月琴である。
English: As Ming-era Chinese music declined early under the pressure of Xing-era Chinese music, if they simply mention "gekkin," it means gekkin used for Xing-era Chinese music (refer to photographs) (For the difference in appearance between "ruanxian"(gekkin for Ming-era Chinese music) and gekkin for Xing-era Chinese music, refer to figures of "Ming and Xing-era musical instruments" on the page for Xing-era Chinese music.)
Japanese: 明楽は清楽に押されて早くに衰退したこともあり、日本で単に「月琴」と言えば、清楽で使う月琴(写真参照)を指す(阮咸(明楽の月琴)と清楽の月琴の形状の差異については、清楽の頁の「明清楽器」の図を参照のこと)。
English: Gekkin for Xing-era Chinese music were imported from China through Nagasaki, but, later, it was manufactured in Japan imitating the Chinese instruments and it came to be used for performances of Japanese folk melody other than Xing-era Chinese music.
Japanese: 清楽の月琴は長崎経由で中国から輸入されたが、ほどなく日本国内でも模倣製作され、清楽以外の俗曲の演奏にも用いられるようになった。
English: It became popular from the Edo period to the last days of the Tokugawa shogunate and Meiji period such that it was played by enka-shi (street performer of pop songs), hokai-ya (performer singing Hokai-bushi - Japanese traditional songs) in Kadotsuke (performance in front of the gate of houses) and goze (blind female who sings or plays shamisen (three-stringed Japanese banjo) as well.
Japanese: 江戸時代から幕末･明治期にかけて大いに流行し、演歌師や法界屋、更には瞽女等にも演奏された。
English: In "Ryoma ga iku" (Ryoma goes) by Ryotaro SHIBA, there is a description in which Ryoma SAKAMOTO's wife Oryo plays (Mostly because of this book, gekkin is well-known today).
Japanese: 司馬遼太郎の竜馬がゆくの中で、坂本竜馬の妻・お龍がつま弾く描写がある（現在の知名度の高さはそれによるところが大きい）。
English: Situations around this time were described in details by "Kyubun Nihonbashi Katsukawa Hanagiku no Issho" (Old story of the life of Hanagiku KATSUKAWA of Nihonbashi) by Shigure HASEGAWA and "Nisshin Senso Ibun" (Harada Jukichi no Yume) (Another Story of the Sino-Japanese War - Jukichi HARADA's dream) by Sakutaro OGIWARA.
Japanese: このころの描写は、長谷川時雨の『旧聞日本橋勝川花菊の一生』や、萩原朔太郎の『日清戦争異聞（原田重吉の夢）』等に詳しい。
English: With respect to gekkin distributed in Japan now, there are two types: one type for Xing-era Chinese music as an antique; and the other is the current gekkin imported from the People's Republic of China as new ones.
Japanese: 現在の日本で流通している月琴には、骨董品である清楽の月琴と、新品として中華人民共和国から輸入した現行の月琴の2種類がある。
English: Although they have the same name, they are, in fact, of two different types, because their material, shape, positions of the frets, way of stringing, and so on.
Japanese: 両者は名称こそ同じでも、楽器の材質や形状、フレットの位置、弦のはりかた等が違っており、事実上別種の楽器である。
English: Gekkin currently produced in the People's Republic of China has experienced "improvement" in music reform of China.
Japanese: 現在の中国製の月琴は、中華人民共和国の音楽改革の「改良」を経ている。
English: The sound chamber has a shape of a perfect circle and it has three courses of a single nylon steel string that is a steel wire wrapped with nylon yarn, and the frets tuned in semitone.
Japanese: 胴体は真円で、スチール線にナイロンを巻いたナイロンスチール弦の単弦を3コース張り、フレットは半音もカバーする。
English: In order to secure the sound volume, the tensile strength of the string is high and the neck and the body are made strong so that they can stand the high tensile strength.
Japanese: また音量を確保するため、弦の張力は強く、それに耐えるように棹や楽器も頑丈に作られている。
English: On the other hand, gekkin for Xing-era music has an oval (almost perfect circle) sound chamber and two courses of paired silk strings (today, nylon string is also used) and, usually, a metal echo wire is equipped in the sound chamber (Every time, the musical instrument is played, the hibikisen in the sound chamber jingles because of vibration).
Japanese: これに対して、清楽の月琴は、胴体は真円に近い楕円形で、絹弦(現在ではナイロンも使う)の複弦を2コース張り、胴内に金属製の「響き線」が入っているのが普通である(楽器を弾くたびに、振動で胴内の響き線がチャラチャラと鳴る)。
English: Because the musical instrument may be damaged if a string for the gekkin of modern China is used for gekkin for Xing-era music, care must be used.
Japanese: 清楽の月琴に、現代中国の月琴用の弦をそのまま張ると楽器を破損することもあるので、注意を要する。
English: It's also called shogo, atarigane, chanchiki, konchiki, changiri or yosuke.
Japanese: 鉦吾（しょうご）、当たり鉦（あたりがね）、チャンチキ、コンチキ、チャンギリ、四助（よすけ）などともいう。
English: A stick which has a dear horn on its tip, called shumoku is used to beat the inner part of the dish.
Japanese: 撞木（しゅもく）と呼ばれる、先端にシカの角のついた棒で皿の内側を叩く。
English: It's used in "geza" (off-stage) music, music for local performing arts, "matsuri-bayashi" (Japanese festival music), and folk dances such as Awa Dancing Festival.
Japanese: 芝居の下座音楽や郷土芸能の音楽、祭囃子、阿波踊りなどの民族舞踊に用いられる。
English: It's sometimes used in orchestral works, and it beats out a characteristic rhythm in "Fantasy on Osaka Folk Tunes" by Hiroshi OGURI.
Japanese: 管弦楽曲でも使用されることがあり、大栗裕の『大阪俗謡による幻想曲』では特徴的なリズムを刻む。
English: It's hanged with a rope, framed or handled, and beaten with a "bachi" (a drumstick), or held directly by a left hand and beaten with fingers by changing the tones and lingering sounds.
Japanese: 奏法は、紐で吊るすか枠や柄をつけてそのまま撥で打つ場合と、左手に直接持って指で音色や余韻を変えながら打つ場合がある。
English: Sounds are made by beating with above-referenced shumoku, and there are two ways of playing; one is to beat its edge and the other is to beat its center.
Japanese: 先述の撞木で叩くことにより音をだすが、その奏法は２種類あり皿のふちを叩く場合と中央部分を叩く場合がある。
English: The reason why it's called 'atarigane' is to avoid using the word, 'suru' (means to pick pocket besides to rub).
Japanese: この楽器を「当たり鉦」というのは、「する」という言葉を嫌ってのことである。
English: Also 'yosuke' (literally means to help the four) came from the fact that it helps other four members [two "shime-daiko" (drums), an odaiko (large drum) and a "fue" (Japanese flute)] in matsuri-bayashi.
Japanese: また、「四助」というのは祭囃子で他の4人（締太鼓2、大太鼓1、笛1）を助けることからきているという。
English: And the name, 'surigane' is derived from the way to rub ("suru") the center of the dish while beating the edge, and the name 'chanchiki (konchiki)' is came from the word of mouth which expresses 'chan (kon),' the sound of beating its center, and 'chiki,' the sound of beating its edge.
Japanese: 他、「摺鉦」という名称はふちを叩く動作の際、皿の中央部分を摺ることから、また、「チャンチキ（コンチキ）」という名称は中央部分を叩く場合を口伝にて「チャン（コン）」と表現し、ふちを叩く場合を口伝にて「チキ」と表現するためである。
English: Sokutai is a formal costume for those from the Emperor to the court nobles in and after Heian period (Heian costume).
Japanese: 束帯（そくたい）は、平安時代以降の、天皇以下公家の正装（平安装束）。
English: Ikan is called 'tonoi (nighttime) costume', whereas sokutai is called 'hino (daytime) costume'.
Japanese: 衣冠を「宿直（とのい）装束」と呼ぶのに対し、束帯は「昼（ひの）装束」と呼ばれる。
English: A sokutai is put on in the following order: first a hitoe (a single layer of a kimono that serves as an undergarment) is put on; next, an akome (a layer of clothing worn by nobles beneath their robe but over their undergarments) is put on; next, a shitagasane (long inner robe) is put on; next, a hanpi (short-sleeved or sleeveless undergarment) is put on; next, a ho (outer robe) is put on; and finally a leather belt is put on around the waist on top of the ho.
Japanese: 束帯の構成は下から、単（ひとえ）・袙（あこめ）・下襲（したがさね）・半臂（はんぴ）・袍（ほう）を着用、袍の上から腰の部位に革製のベルトである石帯（せきたい）を当てる。
English: There are two types of hakama, oguchi-bakama and omote-bakama: first oguchi-bakama is put on, then omote-bakama is worn on top of the oguchi.
Japanese: 袴（はかま）は大口袴・表袴の二種類あり、大口を履き、その上に表袴を重ねて履く。
English: Although there were some differences between the sokutai worn by civil officers and that worn by military officers, military officers with a rank of Sanmi (Third Rank) or higher and civil officers both wore a hoeki no ho (robe with a round collar, stitched sides, and a ran that was worn by the emperor and high-ranking officials) and a suiei (a kind of "tail" that was attached to the back of formal headwear) attached to their kan (formal headwear).
Japanese: なお、束帯には文官・武官による区別があり、文官と三位以上の武官は、縫腋袍を用い、冠は垂纓とした。
English: In addition, military officers, officers in Ministry of Central Affairs and civil officers at the rank of Sangi (councillor) or higher who were permitted by the Emperor had a sword at their waist.
Japanese: さらに、武官・中務省の官人、勅許を得た参議以上の文官は、大刀を佩用した。
English: The ushiro-migoro (back main panel) of shitagasane (long inner robe) was made long and was trailed like a long tail when it was put on.
Japanese: 下襲の後ろ身頃（背部）は長くできており、着用時は長く尾を引くように引き擦った。
English: When the length of kyo started to indicate the rank of persons, shitagasane and kyo were separated from each other because shitagasane itself became so large (bekkyo, separated kyo).
Japanese: また、裾の長さによって身分が表されるようになると、下襲自体が長大になった為、下襲と裾が分離するようになった（別裾）。
English: In this case, after putting on shitagasane, the ends of the belt extended from kyo were brought in front and were tied up.
Japanese: その場合、下襲を着た後に腰に裾を当て、裾から伸びる帯を前に回して結びつけた。
English: However, as to sokutai worn by the Emperor and the princes, shitagasane and kyo were connected with each other.
Japanese: しかしながら、天皇と皇太子が着用するものに関しては下襲と裾が続くものとされている。
English: There was also short kyo called saijaku, and this was used for sokutai for jigenin (a lower rank of ancient Japanese nobility).
Japanese: また、纔著（さいじゃく）と言われる丈の短い裾もあり、地下人の束帯に用いられた。
English: This was because the both sides of the chest of hoeki no ho were closed, therefore, it was not seen whether hanbi was worn or not.
Japanese: これは文官の用いる縫腋袍は脇が縫われているので、着用の有無を外見から判別出来ない為である。
English: Hanbi was worn in summer because hanbi could be seen through (because the cloth of ho was thin), however, later during the early-modern times, hanbi was abolished even in summer.
Japanese: 夏期は半臂が透ける（袍の布地が薄い為）ので着用されていたが、近世に入ってからは夏期も廃された。
English: According to an episode described in "Imakagami" (The mirror of the Present), in a scene in a casual atmosphere, when some people took off ho from their shoulders, the people exposed their shitagasane and only Norimichi FUJIWARA orderly wore hanbi and the people around were deeply ashamed of themselves.
Japanese: なお、『今鏡』には、冬期にくだけた場面で袍を肩脱ぎした際、皆下襲が露わになる中で藤原教通のみがきちんと半臂を着用しており、周囲がいたく自らを恥じた、という逸話が残されている。
English: Ikan (traditional formal court dress) was originally a costume for night duty (called tonoiginu) in the Imperial Court, however, it started to take root as a working costume in the Imperial Court, then sokutai became to be worn as a formal costume in ceremonies.
Japanese: 衣冠は、本来、宮中に於ける宿直用の装束（とのいぎぬ）であったが、宮中での勤務服として定着するにつれ、束帯は儀式に用いる儀礼的な服となった。
English: Today, the word is used to refer to a person who is an enthusiast of sado (tea ceremony) beside his or her profession, and especially refers to a person who owns many tea utensils.
Japanese: 現代では、本業とは別に茶道に熱心な人物、特に多くの茶道具を所有する人物として用いられる。
English: Suki (数寄)' originally meant 'like (好き),' and this way of writing has circulated as a unique phonetic equivalent.
Japanese: 「数寄」とは本来「好き」の意味であり、特殊な当て字として流布している。
English: Suki' refers especially to the way someone devotes to a certain accomplishment while not making it as his of her profession, and has lead to such present day colloquial expressions such as 'You're a suki, too' (You really like that thing) and 'Monozuki' (whimsical person).
Japanese: 専門業とはせずに何らかの芸事に打ち込む様を、特に「すき」と称しているのであり、現代の俗語としては「あんたもすきね」「ものずき」などに通じる。
English: In ancient times, it seems 'sukimono' referred to someone who was infatuated with creating waka (a 31-syllables Japanese poem), but it is said that 'suki' gradually changed to refer to renga (linked poem) as it became popular in the Muromachi period.
Japanese: 古くは「すきもの」とは和歌を作ることに執心な人物を指した様であるが、室町時代には連歌が流行し、特に「数寄」が連歌を指すようになったとされる。
English: In addition, during the Momoyama period, chanoyu (the tea ceremony) became popular amongst the wealthy machi-shu (merchant class), and the meaning of 'suki' changed from renga to chanoyu.
Japanese: さらに桃山時代には富裕な町衆の間で茶の湯が流行し、「数寄」も連歌から茶の湯へと意味を変えている。
English: Due to this, during the Edo period, a house for those suki, the 'Sukiya-zukuri style,' became an alternate name for a teahouse.
Japanese: このため江戸時代には、数寄のための家「数寄屋造り」も茶室の別称として定着する。
English: Furthermore, chanoyu became popular amongst the business leaders in the modern times, but these chajins (masters of the tea ceremony) usually collect many special utensils; being similar to the sukimonos of the Momoyama period, they are called 'the modern sukimonos.'
Japanese: なお近代になって財界人の間で茶の湯が流行するが、こうした茶人達は多くの名物道具の収集を行っており、その様が桃山時代の数寄者に似るところから「近代数寄者」と呼ばれる。
English: Including Takashi MASUDA and Sankei HARA, Kaichiro NEZU (the first), Ichizo KOBAYASHI, and Keita GOTO are famous examples.
Japanese: 特に益田孝と原三渓を初めとして、根津嘉一郎(初代)、小林一三、五島慶太らが有名である。
English: Jusandai-me (the thirteenth) Nizaemon KATAOKA (male, December 15, 1903 to March 26, 1994) was a kabuki actor.
Japanese: 十三代目片岡仁左衛門（じゅうさんだいめかたおかにざえもん、明治36年(1903年)12月15日-平成6年(1994年)3月26日）は歌舞伎役者。
English: He was completely blind in the last decade of his life, but he continued his activity on the stage as lead actor.
Japanese: 晩年の十年間は完全に盲目だったにもかかわらず、主演の役者として舞台活動を続けた。
English: His children include: Gafu KATAOKA (V); Suzu HANAYAGI, a performer of Japanese dance; Hidetaro KATAOKA (II); Nizaemon KATAOKA (XV); and Shizuka KATAOKA, an actress of shingeki (new dramas influenced by Western stage plays).
Japanese: 子供は片岡我當(5代目)、日本舞踊家花柳寿々、片岡秀太郎(2代目)、片岡仁左衛門(15代目)、新劇女優片岡静香（演劇集団円）らがいる。
English: His wife and the wife of Jukei HANAYAGI, the second head of the HANAYAGI School of Japanese dance, who changed his name from Jusuke HANAYAGI II, are sisters (KATAOKA's wife is younger).
Japanese: 日本舞踊花柳流二代目家元・二代目花柳壽輔改め花柳壽應とは、妻同士が姉妹（片岡のほうが妹）。