nntsuzu/KFTT huggingface dataset:
English: Director Masahiro Makino, Makino's oldest son, filmed "Nabante Ako Roshi" and other films using a hastily built studio, but the company was unable to secure a distribution network and was liquidated two months later due to financial difficulties.
Japanese: 急造のバラックスタジオで、牧野の長男・マキノ正博監督が『二番手赤穂浪士』ほかを撮影したが、配給網が確立できず、資金難となり、2か月で解散となる。
English: Distribution rights of "Nibante Ako Roshi" were assigned to Nikkatsu and proceeds from the sales were used to pay employee severance allowances.
Japanese: 『二番手赤穂浪士』の配給権を日活に売却、代金を従業員への解散手当てとした。
English: Shoei Makino Kinema partnered with Taishu Bungei Eiga-sha to produce "Adauchi Kyodai Kagami", directed by Taizan GOTO, and released it on May 12 of the same year together with "Kenka Dochi-ki", produced by 'Shoei Makino Kinema' and directed by Masao AOYAMA through the distribution network of 'Kokusai Eiga-sha', a western film distribution company managed by Tsusai SUGAWARA.
Japanese: また、後藤岱山監督の『仇討兄弟鑑』を大衆文芸映画社との製作提携作とし、「正映マキノキネマ」作品の青山正雄監督の『喧嘩道中記』とともに、菅原通済が当時経営していた洋画配給会社「国際映画社」が配給し、同年5月12日に公開された。
English: Half a year later, Masatsugu TAKAMURA took over Toa Kinema that had given up film production, established Takarazuka Kinema Kogyo at Omuro in partnership with Kisaburo MINAMI, who had resigned as the president of Toa, changed 'Omuro Studio' to 'Takarazuka Kinema Studio' and put it into operation.
Japanese: さらに半年後には、高村正次が映画製作を断念した東亜キネマを買収、同社の社長を辞任した南喜三郎とともに、宝塚キネマ興行を御室に設立、「御室撮影所」を「宝塚キネマ撮影所」と改称して稼動させた。
English: Calligraphy history in Japan covers from ancient times to present day.
Japanese: 日本の書道史（にほんのしょどうし）とは、有史以来、現在までの日本における書道の歴史である。
English: In this article, calligraphy-related historical achievements, such as the backgrounds, calligraphic styles, calligraphic samples, calligraphers, and education, are described for each historical period, up to the Showa period.
Japanese: 本項では時代ごとに、その背景、書風、筆跡、書家、教育など書に関連した事跡を昭和までを範囲として記す。
English: Then Buddhism was brought to Japan, and promoted by Prince Shotoku during the Asuka period and by Emperor Shomu during the Nara period, sutras were copied widely, making calligraphy in Japan develop rapidly.
Japanese: つづいて仏教が伝来し飛鳥時代の聖徳太子、奈良時代の聖武天皇によって写経が盛行し、日本の書は急速に発展する。
English: In addition, since the envoys to Sui Dynasty and Tang Dynasty China directly brought back Chinese culture, the calligraphic style of the Jin and Tang dynasties became the vogue.
Japanese: また遣隋使や遣唐使により、中華文化が直接日本に将来するようになり、晋唐の書風が流行した。
English: In particular, Emperor Saga during the early Heian period liked the Tang style, and his calligraphy, together with that of Kukai and of TACHIBANA no Hayanari, was modeled on the Jin and Tang dynasties
Japanese: 特に平安時代初期の嵯峨天皇は唐風を好み、入唐した空海・橘逸勢らとともに晋唐の書に範をとった。
English: These three great calligraphers did not end simply by imitating the calligraphy, but left a lot of spirited calligraphy to Japanize the Chinese style.
Japanese: この三筆は模倣だけに止まらず、中国風を日本化しようとする気魄ある書を遺した。
English: Then during the middle era of the Heian period, the Tang dynasty declined and sending an envoy to Tang Dynasty China ceased, causing Japanese style culture to establish and generating "kana" characters.
Japanese: そして平安時代中期、唐の衰頽にともない遣唐使が廃止され、国風文化の確立によって「かな」が誕生した。
English: Furthermore, the three great calligraphers Japanized Chinese character-writing styles, and the Japanese calligraphic style became complete then.
Japanese: さらに三跡によって漢字が日本の書流和様化され、和様書の完成期を迎える。
English: In addition, Chinese priests came to Japan during this period, and Japanese Zen priests and Chinese Zen priests introduced a Chinese calligraphic style into Japan again.
Japanese: またこの時期に中国から僧が来朝し、日中両国の禅僧によって再び中国の書風が注入された。
English: This calligraphic style by Zen priests was called the Chinese calligraphic style in Japan, and was handed down and developed during the Edo period and later as the Chinese calligraphic style in Japan.
Japanese: この禅僧による書は日本の書流唐様と呼ばれ、江戸時代から日本の書流唐様として継承され発展した。
English: On the other hand, concerning the Japanese style, the Sonen style was employed by the Edo bakufu (Japanese feudal government headed by a shogun) for its official documents.
Japanese: 一方、和様は尊円流が江戸幕府の公用書体として採用され庶民にも広まった。
English: Entering the Meiji period, because many of the leaders of Japan in this period studied the Chinese classics, Chinese style calligraphy gradually became dominant.
Japanese: 明治に入り、この時代の実権者の多くが漢学の素養があったことから唐様の書風に傾いていった。
English: Then Yang Shoujing in Qing came to Japan bringing inscriptions and copybooks from the six dynasties in the Han and Wei (three dynasties) era, giving a great shock to the Japanese calligraphic world.
Japanese: そして清の楊守敬が漢魏(三国)六朝の碑帖を携えて来日し、日本の書道界に大きな衝撃を与えた。
English: Affected by this, calligraphy in the six-dynasty style became popular, centered on the efforts of Ichiroku IWAYA, Sekka MATSUDA, and Meikaku KUSAKABE.
Japanese: この影響により巌谷一六・松田雪柯・日下部鳴鶴らを中心に六朝書道が盛んになった。
English: However, concerning the calligraphic style of writing kana characters, Shinai TADA, Shugyo OGUCHI, and Gado ONO restored the ancient style, based on the movement of restoring traditional cultural heritage during the middle era of the Meiji period.
Japanese: しかしながら、かな(書道)は明治時代中期に伝来の文化遺産の復古が叫ばれ、多田親愛・大口周魚・小野鵞堂を中心に上代様が復興された。
English: Then the base of the Chinese character calligraphy of today was established by Meikaku KUSAKABE and Shundo NISHIKAWA.
Japanese: そして日下部鳴鶴と西川春洞を中心に今日の漢字書道界の基礎が造られた。
English: Towards the end of the Taisho period, a calligraphy-related body where almost all the calligraphers at that time participated in was organized, and they held a big calligraphic exhibition annually.
Japanese: 大正時代末期、当時のほとんどの書家を結集させた書道団体が誕生し、年1回、大展覧会を開催した。
English: This body named "Nihon Shodo Sakushin Kai" (literally, an association for promoting calligraphy in Japan) was organized through efforts of Shunkai BUNDO, starting the history of the modern calligraphic society in Japan.
Japanese: 会名を「日本書道作振会」としたこの団体は豊道春海の尽力により結成し、ここに近代書壇史が始まった。
English: Then through many changes, big, stable bodies of "Taito Shodo-in" (the Taito calligraphic association) "Toho Shodo-kai" (the Toho calligraphic association) and "Dainihon Shodo-in" (the Dainihon (literally, great Japan) calligraphic association) have been established.
Japanese: そして離合集散の結果、「泰東書道院」・「東方書道会」・「大日本書道院」の安定した大規模な団体の結成に至る。
English: "Dainihon Shodo-in" was organized centered on Tenrai HIDAI, a follower of Meikaku KUSAKABE, and followers of Tenrai started an effort for creating modern-style calligraphy.
Japanese: 「大日本書道院」は日下部鳴鶴門の比田井天来を中心とする団体で、この天来の門弟たちによって現代書への胎動が出現する。
English: "Nihonshoki" (Chronicles of Japan) and "Kojiki" (records of ancient matters) include the following descriptions: Because of being familiar with Buddhist scriptures, Achiki (Achikishi in Kojiki), an emissary of Kudaranokonikishi (King of Paekche), became a teacher of Prince Iratsuko UJINOWAKI in 284 during the era of Emperor Ojin, and Wa Ni (Wang In) (Wanikishi in Kojiki) who was introduced by Achiki and came to Japan and presented ten volumes of "Rongo Analects" and "Senjimon" (a poem consisting of one thousand Chinese characters) to the Imperial court.
Japanese: 『日本書紀』と『古事記』には、百済王の使者、阿直岐（古事記には阿知吉師）が経典に通じていたので、応神天皇15年（284年）に皇太子、菟道稚郎子の師となり、その阿直岐の紹介により応神天皇16年（285年）2月に入朝した王仁（古事記には和邇吉師）が『論語』10巻、『千字文』1巻を献上したと記されている。
English: In 8 A.D., Omo, a maternal relative of the emperor of Former Han, destroyed Han to establish the "Shin" dynasty.
Japanese: 紀元8年、前漢の皇帝の外戚である王莽が漢の国を奪って「新」王朝を建てた。
English: Copper coins produced only in this era were found in a Yayoi period tumulus.
Japanese: この新の時代にだけ造られた銅貨が日本の弥生時代の古墳から発見された。
English: With the tensho-tai (seal-engraving style of writing Chinese characters) style Chinese characters of 貨泉 cast in it, this copper coin was called 貨泉 (kasen).
Japanese: この銅貨には「貨泉」という篆書体の文字が鋳込まれていたので貨泉（かせん）と呼ばれる。
English: According to Shi Hugo Zhan (records on economy) of "Kanjo" (historical records of the Han Dynasty), Kasen were cast in 14 A.D., and were circulated for twelve years until the Shin dynasty became extinct.
Japanese: 『漢書』「食貨志」によると、貨泉は天鳳元年（14年）に鋳造され、新が滅亡するまでの12年のあいだ流通したという。
English: It is said that the characters of 貨泉 were the oldest remaining product of the characters found through excavations in Japan.
Japanese: この「貨泉」の文字が日本で出土した文字の遺品中、最古の製造物とされている。
English: In 1784 in the latter half of the Edo period, a golden seal was found on Shikanoshima island, the Chikuzen province (present Fukuoka Prefecture).
Japanese: 江戸時代後期の天明4年（1784年）、筑前国（現在の福岡県）の志賀島で金印が出土した。
English: On the seal, the characters of "漢委奴国王" were engraved, and Nanmei KAMEI, a Confucian scholar at the Fukuoka domain said that this seal met descriptions in "Gokanjo" (historical records of the Later Han Dynasty)
Japanese: 印には「漢委奴国王」と刻してあり、福岡藩の儒学者、亀井南冥は『後漢書』の記事に符合するとした。
English: According to the description, this Kanno Wano Nano Kokuo In was presented to an emissary of Nakoku by Kobu-tei (Emperor Guangwu) of the Later Han dynasty in 57, being the oldest next to 貨泉.
Japanese: それによると、この倭奴国王印は後漢の建武中元2年（57年）光武帝が奴国の使者に賜わったとあり、先の貨泉に次いで古い年代のものとなる。
English: In 552, the era of Emperor Kinmei, Buddhism (Mahayana Buddhism) was brought to Japan via the Korean peninsula as Chinese characters were, and Buddhist scriptures came to be copied.
Japanese: 欽明天皇13年（552年）、漢字と同様に朝鮮半島を経て仏教（大乗仏教）が伝来し、仏典の書写が始まる。
English: Then Buddhist scriptures were copied widely, and additionally because Damjing, a priest in Goryeo, brought to Japan the methods of manufacturing paper and ink sticks, calligraphy developed rapidly.
Japanese: これに伴い写経が盛んになり、また高麗の僧、曇徴が紙や墨の製法を伝えたことにより、書道は急速に発展する。
English: However, Chinese culture was brought to Japan without going through the Korean peninsula, for example, by means of sending an envoy to the Sui Dynasty China by Prince Shotoku, and calligraphy in Japan was affected by Sui and Tang.
Japanese: しかしながら、聖徳太子が遣隋使を派遣するなど、中国文化が朝鮮半島を経由せずに直接日本に将来されるようになり、隋唐の書の影響が現れるようになる。
English: Such a change in style is typically found in the following example: The four volumes of "Hokke Gisho," said to have been written by Prince Shotoku himself, were written in the six dynasty style, but "kongojodarani-kyo" (the Buddhist scripture of Dhāraṇī of the Adamantine Place) was written in Tang style.
Japanese: 聖徳太子の自筆とされる『法華義疏』4巻は六朝風であるが、『金剛場陀羅尼経』が唐風であるのはその変遷の好例である。
English: Said written by Prince Shotoku at the age of 41 or 42, these are the oldest calligraphic samples except for kinseki-bun (words written on metal or stones)
Japanese: 聖徳太子41から42歳の書とされ、金石文を除いた現存する書跡で最も古い。
English: In the main texts, deleted characters, pasted sheets of paper and added sheets of paper are included, suggesting that the manuscripts were checked well.
Japanese: 本文中には削字や貼紙や継紙があり、推敲された草稿であることが分かる。
English: The calligraphic style is like that of sutras copied in the six-dynasty style, and the character style is flat, with a beautiful sweeping stroke to the right, and is light, easy, but powerful.
Japanese: 書風は六朝写経に似ていて、字体は扁平で波法が美しく軽妙で筆力がある。
English: This sutra was copied in 686 during the era of Emperor Tenmu, being the oldest copied sutra in Japan.
Japanese: 天武天皇14年（686年）の写経で、日本の写経では最古のものである。
English: This sutra was copied by Buddhists in Shiki, Kawachi Province who were enlightened by Priest Horin, and the calligraphic style resembles that of "the Monument of Daoyin Priest, Ouyang Tong" written by Ouyang Tong, a son of Ouyang Xun, one of the three greatest calligraphers in the early Tang period.
Japanese: 河内国志紀郡の仏教信徒が僧宝林の教化によって作ったもので、書風は初唐の三大家の一人である欧陽詢の子、欧陽通の『欧陽通道因法師碑』に似ている。
English: In particular, in the Tenpyo era of Emperor Shomu, the Nara culture became most prosperous and calligraphy developed considerably.
Japanese: 特に聖武天皇の天平年間は奈良文化の最盛期であり、書道の発展が著しかった。
English: In this period, in addition to the six-dynasty style, the calligraphic style of the Jin and Tang dynasties was used, with the calligraphic style of Xizhi WANG learnt by many.
Japanese: この時代の書風は、六朝風の外に、晋唐の書風が書かれ、王羲之の書法が学ばれた。
English: Empress Komyo's imitating copy of "Wang Xizhi Text in the Square Style" by Wang Xizhi is famous and exists in Shoso-in Treasure Repository.
Japanese: 光明皇后による王羲之の『王羲之楷書』の臨書が有名で正倉院に現存する。
English: By the way, in "Manyoshu" (Collection of Ten Thousand Leaves), 羲之 and 大王 are read as teshi, indicating that 王羲之 (Xizhi WANG) was used for indicating teshi (literally, hand teacher) or a calligraphic expert.
Japanese: なお『万葉集』では「羲之」や「大王」を「テシ」と読ませており、この時代、王羲之が手師すなわち能書の代名詞であったことが分かる。
English: Respecting and believing Buddhism, Emperor Shomu built Todai-ji in Nara and other temples, trying to promote Buddhism as a national project.
Japanese: 聖武天皇は仏教を尊信し、奈良の東大寺などを建立し、国家事業としての仏教興隆を図った。
English: Many sutras copied during this period remain, including "Shinkan-kengu-kyo"which came down to Kaidan-in of Todai-ji temple (kengu-kyo said copied by Emperor Shomu himself).
Japanese: この時代の写経の遺品は東大寺戒壇院に伝来した『宸翰賢愚経』（けんぐきょう、伝聖武天皇宸翰）をはじめ数多く現存する。
English: An official position called shohakase (the professor of calligraphy) was introduced in the daigaku-ryo (Bureau of Education under the ritsuryo system), an educational institution under the Ritsuryo system (a system of centralized government based on the ritsuryo code), and the department called "calligraphy" was established later, but declined during it's early stage
Japanese: 律令制度下の教育機関である大学寮に書博士という役職が設置され、後に「書道」と呼ばれる学科が形成されたが、早い段階で衰退している。
English: In 794, the capital was moved to Heian-kyo, becoming the political and cultural center of the nation.
Japanese: 延暦13年（794年）都が平安京に遷り、政治・文化の中心地となった。
English: As Emperor Shomu was the central person of the Tenpyo culture, the Konin culture in this period developed greatly centered on Emperor Saga.
Japanese: 聖武天皇が奈良時代の天平文化の中心者であったと同様に、この時代の弘仁文化は嵯峨天皇を中心に大きく発展した。
English: In the peaceful political situation, many calligraphic experts, including Kukai and TACHIBANA no Hayanari, appeared, and many excellent calligraphic products in this period still remain.
Japanese: 平穏な政治情勢のもと、空海、橘逸勢をはじめ多くの名家が輩出し、名筆が遺存した時代である。
English: In 804, an envoy was dispatched to Tang Dynasty China, and Saicho, Kukai, TACHIBANA no Hayanari, and others entered Tang China.
Japanese: 延暦23年（804年）に遣唐使が派遣され、最澄、空海、橘逸勢らが入唐した。
English: Therefore, they did not imitate the new style but learnt calligraphy in the Jin and early Tang eras independently, bringing back calligraphic samples of Wang Xizhi and Tojin.
Japanese: そのため、彼等は当時の新風を模せず、晋および初唐の書を自主的に摂取し、王羲之や唐人の書跡などを日本に伝えた。
English: In particular, Emperor Saga liked the Tang style and changed the Chinese characters on the name plate of the gate to Kyujo (the place where the emperor lived) to Tang style ones.
Japanese: ことに嵯峨天皇は唐風を好み、宮城（きゅうじょう）の門額の名称を唐風に改めた。
English: Furthermore, the emperor himself wrote characters on the name plates of gates, and had Kukai and TACHIBANA no Hayanari, being famous calligraphers at that time, write characters on the name plates of gates as well.
Japanese: また自らも門額を書き、当時書名の高かった空海、橘逸勢にも同様に門額を書かせた。
English: These three persons (Emperor Saga, Kukai, and TACHIBANA no Hayanari) were called san-pitsu, the three great calligraphers, during the early Heian period.
Japanese: この3人（嵯峨天皇、空海、橘逸勢）は平安時代初期の第一の書家として三筆と称された。
English: In particular, Kukai was an excellent calligrapher unparalleled in Japanese history, being called Wang Xizhi in Japan, and his stately and decorative calligraphic style was called the Daishi (meaning Kukai) style.
Japanese: 特に空海は日本の王羲之ともいうべき不世出の能書であり、その重厚で装飾的な書風は大師流と称されている。
English: In this era of san-pitsu, Saicho should be listed as an especially excellent calligrapher as well, and "shinkan-kokuchoshoninshi" (a poem of regretting the death of Saicho, written by the emperor himself) that Emperor Saga wrote regretting the death of Saicho in the sosho-tai (cursive style writing) style remains.
Japanese: また、この三筆の時代に特筆すべき能書として最澄がおり、嵯峨天皇の宸翰に最澄の入滅をなげき悲しんだ草書体の『宸翰哭澄上人詩』（こくちょうしょうにんし）がある。
English: Consequently, how to harmonize kana characters and Chinese characters in writing became a big problem in the calligraphy in Japan, and Japanese style calligraphy was completed to solve the problem.
Japanese: かくて、かなと漢字との調和が日本書道の大きな課題として提示され、これに応じて和様書道が完成された。
English: With Chinese characters having been brought to Japan, efforts to record Japanese language with Chinese characters started, and the orthography changed with the times.
Japanese: 漢字の伝来により、漢字を使って日本の言葉を記す努力が始まり、この表記法は時代とともに変化した。
English: In the inscription of "Yama no Ue no Hi" (the monument on the mountain top) (built in 681), the Chinese characters on the monument were arranged in the order of the Japanese sentence, with the kana portions, such as okurigana (kanas added to a Chinese character to show its pronunciation) and postpositional particles, removed.
Japanese: 『山ノ上碑』（681年）では、漢字を日本語の語順に並べ、「送りがな」や「助詞」など、かなの部分を取り除いた碑文となっている。
English: In the "Kojiki" (completed in 711), to record the pronunciation of Japanese language using Chinese characters, Chinese characters were read in the original Chinese pronunciations (On) or in the pronunciations of the corresponding Japanese words (Kun).
Japanese: 『古事記』（711年）では、日本語の発音を表現するために、漢字の音と訓を交えて読ませる工夫が施されている。
English: During the Nara period, in senmyo, documents that recorded orders from an emperor, small-sized Chinese characters with pronunciations corresponding to okurigana and postpositional particles, such as te, ni, wo, and ha, were used for recording these sounds,
Japanese: 奈良時代、天皇の命令を記した宣命という文書では「送りがな」や「てにをは」を漢字の音を借りて小さく書き入れている。
English: "乃" for "no", "波" for "ha,"and "乎" for "wo" were used consistently.
Japanese: 「の」には「乃」、「は」には「波」、「を」には「乎」などを一定して使っている。
English: The kaisho-tai (square or block style of writing) style or simple gyosho-tai (semi-cursive style of writing) style Chinese characters used for recording kana portions of Japanese language were called magana.
Japanese: このように楷書体や平易な行書体程度の漢字を使って日本語のかなの部分に当てはめて書き記したものを真仮名（まがな）と呼んだ。
English: Because many examples using this orthography were found in the "Manyoshu" (Collection of Ten Thousand Leaves), these special Chinese characters were later called Manyo-gana (during the Edo period and later).
Japanese: 『万葉集』でこの方法がよく用いられたことから、後世（江戸時代から）万葉仮名と呼ぶようになった。
English: "Shosonin-Manyo-gana-monjo" indicates two documents each written using a Chinese character recording each Japanese sound and was shihai monjo (a document which was written on the other side of a piece of used paper).
Japanese: 『正倉院万葉仮名文書』（しょうそういんまんようがなもんじょ）とは、一字一音の万葉仮名ばかりで書かれた古文書2通のことで、正倉院の中倉に伝わる紙背文書である。
English: On the formerly used side of one of the two documents (starting with 和可夜之奈比乃 - wagayashinahino), "zo-Ishiyamadera-shokumotsucho" (a book for food at the office for constructing Ishiyam-dera Temple), which is considered having been written in January of 762, is recorded.
Japanese: 2通のうちの1通（文頭が「和可夜之奈比乃（わがやしなひの）…」）の紙背には、天平宝字6年（762年）1月のものと考えられる記録『造石山寺所食物用帳』が記されている。
English: On the formerly used side of the other of the two documents (which starts with 布多止己呂乃(hutatokorono)--), a document of "zo-Ishiyamdera-kumonan" (a copy of the official document of constructing Ishiyama-sera Temple), dated on March 3 and March 4, 762, is recorded.
Japanese: もう1通（文頭が「布多止己呂乃（ふたところの）…」）の紙背には、天平宝字6年（762年）1月30日と2月1日付の『造石山寺公文案』という文書がある。
English: Therefore, it is known that this kana document was also written in the same era as the other one, although the authors were different.
Japanese: このため、筆者は異なるものの、前の1通と同時期に書かれたことがわかる。
English: A Chinese character is used consistently for each sound, with characters needing many brushstrokes not being used.
Japanese: 一つの音には一つの字を統一して使い、あまり画数の多い字は使っていない。
English: However, in these documents, each Chinese character is not recognized as a word with a meaning, and the way of using these characters is closer to that of using kana today.
Japanese: しかしながら、この文書は漢字を意味のある文字と認識しておらず、現在の「かな」の感覚に近い使い方をしている。
English: Because kana was used in the way specific to ancient times during the Nara period, the number of sounds in pronunciation was 87 (88 max).
Japanese: 奈良時代は上代特殊仮名遣のため音の数は87音（最大で88音）あった。
English: However, since several to ten plus Chinese characters were used for indicating each sound, close to 1,000 Manyo-gana characters existed
Japanese: しかしながら、各音に対して数種から十数種の漢字をあてたため、1000字近くの万葉仮名があった。
English: After that, Chinese characters that required a small number of strokes, allowing easier writing, remained and, mixed use of ko-class characters and otsu-class characters reduced the number of such characters to around 300 (with around 100 to 200 such characters used by each person) in the late Heian period.
Japanese: その後、画数が少なく書きやすい字に淘汰されていったことや、甲類・乙類の混合で音の数が少なくなったことにより、平安時代後期には約300字に字母が減少した（このうち各人が使用する字母は100字から200字ぐらいであった）。
English: As the number of such characters used decreased, their styles became increasingly more simplified, and during the early Heian period, so-gana characters, Manyo-gana characters written beautifully in the sosho-tai style, were used.
Japanese: 文字数の減少と平行して字体の簡略化が進み、平安時代初期、万葉仮名を草書体で美しく表現した草仮名（そうがな）が使われた。
English: Calligraphic samples using so-gana characters include "ONO no Tofu akihagijo" and "ayajiutagire."
Japanese: 草仮名の筆跡として、『小野道風秋萩帖』（あきはぎじょう）、『綾地歌切』（あやじうたぎれ）などがある。
English: Entering the middle era of the Heian period, simpler hira-gana characters, simplified and symbolic versions of so-gana characters, were generated.
Japanese: 平安時代中期になると、草仮名をさらに簡略化して記号化された平易な平仮名が誕生した。
English: Therefore, Manyo-gana characters and hira-gana characters were called onoko-de (characters for males) and onna-de (characters for females), respectively.
Japanese: このため、万葉仮名を男手（おのこで）、平仮名を女手（おんなで）といった。
English: In this era, a male and a female in the noble class interacted with each other mostly through letters, and males used onna-de characters as well to write letters to females.
Japanese: しかし、このころの貴族の男女の交際は専ら手紙であり、男性も女性へ送る手紙は女手で書いた。
English: A person's worth was evaluated based on how beautifully onna-de characters were written, and waka poems were made widely, leading to the heyday of kana character calligraphy.
Japanese: 女手の書きぶりでその人の評価が決まることや和歌の流行などから、かな書道の全盛期を迎えるに至る。
English: Towards the end of the Heian period, Insei (rule by the retired Emperor) started and samurai started to gain power, causing disorder in aristocratic society and making it decline as well.
Japanese: 平安時代末期は院政の開始と武家の台頭による貴族社会の混乱衰頽をまねいた。
English: Reflecting this situation, individualistic and decisive, rather than graceful things came to be favored, and gorgeous and decorative copies were made widely.
Japanese: そのような状況を反映して、優美なものから個性的意思的な傾向を示し、華麗な装飾写本が盛行した。
English: This calligraphic work includes waka poems by thirty-six master poets that were copied by twenty calligraphic experts, but only three names; FUJIWARA no Michiko, FUJIWARA no Sadazane, and FUJIWARA no Sadanobu are known.
Japanese: この書は三十六歌仙の和歌を能書20人が分担して書写したが、筆者が明らかなのは藤原道子、藤原定実、藤原定信の3人だけである。
English: By the way, the "Nishi-Honganji-bon Sanju-rokunin-kashu" was found by Shugyo OGUCHI in 1896 in the library of Nishi-Hongan-ji Temple.
Japanese: なお、この『西本願寺本三十六人家集』は明治29年（1896年）大口周魚が西本願寺の書庫から発見したものである。
English: The Sesonji family, founded by FUJIWARA no Yukinari, produced many calligraphic experts over generations, for example, FUJIWARA no Yukitsune (the second head of the family) and FUJIWARA no Korefusa (the third) in the middle era of the Heian period, and Sadazane (the fourth), Sadanobu (the fifth) and FUJIWARA no Koreyuki (the sixth) in the latter half of the Heian period.
Japanese: 世尊寺家は藤原行成を祖とし、藤原行経（2代目）、藤原伊房（3代目）が平安中期に、定実（4代目）、定信（5代目）、藤原伊行（6代目）が平安後期にと、歴代能書を輩出した。
English: Yukiyoshi SESONJI, the eighth head of the family changed the family name to Sesonji, and the family line became extinct after Yukisue SESONJI, the seventeenth head of the family, died.
Japanese: 世尊寺家は8代世尊寺行能から世尊寺の家名を名乗り、17代世尊寺行季で終焉となる。
English: Koreyuki, the sixth head of the family wrote "Yakakuteikin-sho, calligraphic styles in Japan," a book on the theory of calligraphy, which still remains.
Japanese: 6代目の伊行は日本最初の書論書『日本の書流夜鶴庭訓抄』を遺している。
English: Many sutra copies were made, with almost all of them of the Hokke-kyo sutra, and were finished in the beautiful soshoku-kyo sutra style.
Japanese: 写経も盛行したがその経典の多くは『法華経』であり、美しい装飾経に仕上げられた。
English: "Kunoji-kyo" (sutras at Kunon-ji Temple) and "Heike-nokyo" (sutras dedicated by the Taira family) are such typical copies, and part of the Hiyuhon Daisan (the third chapter of the Lotus Sutra) of "Kunoji-kyo" was written by FUJIWARA no Sadanobu.
Japanese: その代表作は『久能寺経』と『平家納経』で、『久能寺経』中の「譬喩品第三」の筆者は藤原定信である。
English: FUJIWARA no Sadanobu copied 5048 volumes of Daizo-kyo sutras, Buddhist scriptures, for the twenty-three years from when he was forty-two to sixty-four in age.
Japanese: なお、藤原定信は経典大蔵経5048巻を42歳から64歳までの23年間で完成させた。