nntsuzu/KFTT huggingface dataset:
English: In the autobiography, he covered from his birth, his entering into priesthood in Daigo-ji Temple, ascetic practices in the Shingon Esoteric Buddhism to corruption of the entire world of Buddhism in Japan at the time, execution of the JIsei Jukai (self-administered precepts) at Todai-ji Temple with Kakujo and others, the encounter with Ninsho and others who became his disciples later, the movement for restoring the Saidai-ji Temple (Nara City), restoring the religious precepts, the campaign for helping Hinin (a group comprising the lowest rank in the pre-modern Japan), patients of the Hansen's disease, and so forth.
Japanese: 出生から醍醐寺における出家と真言密教の修行、仏教界全体の堕落から、覚盛らとともに東大寺で自誓授戒を行ったこと、忍性ら弟子との出会いや西大寺_(奈良市)を再興して戒律復興運動や非人・ハンセン病患者救済活動などを行った経緯等を記している。
English: His autobiography has been highly valued as a historical material on Buddhism in the Kamakura period because it was based on materials which he possessed, written clearly and in detail, and there was not much discrepancy between his autobiography and other materials on history or with the history of Buddhism written in those days.
Japanese: 叡尊自身が保持していた諸資料を基にして書かれていること、内容が詳細明晰であること、当時の他の歴史・仏教史料と比べても大きな相違がないことから、鎌倉時代における仏教史料として高く評価されている。
English: In 1990, 700 years after Eison's death, "Kosho Bosatsu Gokyokai Chomonshu (Collection of Preachingsby Kosho Bosatsu [name given to Eison posthumously by Emperor Gofushimi]) and Kongobutsushi Eison Kanjingakushoki" edited by Sei HASEGAWA was published by the Saidai-ji Temple.
Japanese: 長谷川誠編『興正菩薩御教誡聴聞集・金剛仏子叡尊感身学正記』が没後700年の1990年（平成2年）に西大寺より刊行。
English: Junyoze (Buddhism Ten Factors of Life) is the principle of causality which is expounded in the Chapter of Expedient Means of "the Lotus Sutra".
Japanese: 十如是（じゅうにょぜ）とは、『法華経』方便品に説かれる因果律をいう。
English: Ju (ten factors) refers to a form, nature, embodiment, potency, function, a primary cause, a secondary cause, effect, recompense, and complete fundamental whole.
Japanese: 十とは相・性・体・力・作・因・縁・果・報・本末究竟等（そう・しょう・たい・りき・さ・いん・えん・か・ほう・ほんまつくきょうとう）をいう。
English: Nyoze means thusness.
Japanese: 如是とは是（かく）の如（ごと）し（そのようである、という意）のこと。
English: The junyoze is seen only in the Lotus Sutra translated by Kumaraju, not in the other translations or the original Sanskrit text.
Japanese: なお、この十如是は鳩摩羅什（くまらじゅう）が訳出した法華経にのみ見られるもので、他の訳や梵文（サンスクリット語）原典には見当たらない。
English: The junyoze is an important doctrine, believed to give origin to form "ichinen sanzen (the three thousand realms contained in one mind)" which is later called the fundamental Tendai doctrine.
Japanese: この十如是は、後に天台宗の教学の究極とまでいわれる「一念三千」を形成する発端とされており、重要な教理である。
English: Junyoze refers to a form (appearance), nature (essence), embodiment (entity), potency (power), function (action), a primary cause (direct cause), a secondary cause (condition or indirect connection), effect (result of a primary cause), recompense (retribution or indirect result of a secondary cause), and complete fundamental whole (ultimate equality in nine factors from the form to the recompense).
Japanese: 十如是とは、相（形相）・性（本質）・体（形体）・力（能力）・作（作用）・因（直接的な原因）・縁（条件・間接的な関係）・果（因に対する結果）・報（報い・縁に対する間接的な結果）・本末究竟等相（相から報にいたるまでの9つの事柄が究極的に無差別平等であること）をいう。
English: Furthermore, the true nature of the universe, that is, what the real truth of existence should be, is understood by these ten factors.
Japanese: さらに、諸法の実相、つまり存在の真実の在り方が、この10の事柄において知られる事をいう。
English: Put simply, it means the ten ways of existence which are shared by all living beings.
Japanese: わかりやすくいえば、この世のすべてのものが具わっている10の種類の存在の仕方、方法をいう。
English: Zhiyi, the Tendai Daishi (a great master of Tendai sect), interpreted each of junyoze (Buddhism Ten Factors of Life) in three different ways; the first, second, and the third meaning of a form (the first factor) is as follows: every form is equal; every form is different; every form is in the middle; Zhiyi applied these three ways of interpretation to each of junyoze; thus as for the ninth factor, 'recompense,' the first, second, and the third meaning is as follows: every recompense is equal, every recompense is different, every recompense is in the middle; and he expounded these three aspects of each one of the ten factors as the three truths of the empty, contingent, and middle; for this reason, these three ways of interpretation are called santen dokumon (literally 'the meaning changes three times as one reads the text').
Japanese: 天台大師・智顗は「是の相も如なり、乃至、是の報も如なり」と「是の如きの相、乃至、是の如きの報」と「相も是に如し、乃至、報も是に如す」として、十如是を三種に読み、これを「空・仮・中」の三諦（さんたい）の義に配釈したので、これを三転読文（さんてんどくもん）といわれる。
English: What the Buddha has achieved is the foremost, rare, and hard-to-understand dharma, and all dharmas can only be understood and shared by Buddhas.
Japanese: 仏の成就せる所は、第一の希有なる難解の法にして、唯、仏と仏のみ、乃ち能く諸法の実相を究め尽くせばなり。
English: That is to say, this reality consists of a form, nature, embodiment, potency, function, a primary cause, a secondary cause, effect, recompense, and complete fundamental whole.
Japanese: 謂う所は、諸法の是の如き相と、是の如き性、是の如き体、是の如き力、是の如き作、是の如き因、是の如き縁、是の如き果、是の如き報、是の如き本末究竟等なりとある。
English: The Buddha knows an individual event, and only the Buddha can expound all the phenomena and only the Buddha knows them correctly.
Japanese: 如来は個々の事象を知っており、如来こそ、あらゆる現象を教示することさえできるのだし、如来こそ、あらゆる現象を正に知っているのだ。
English: It means what they are, how they are, like what they are, and of what characteristics and of nature they are.
Japanese: すなわち、それらの現象が何であるか、それらの現象がどのようなものであるか、それらの現象がいかなるものであるか、それらの現象がいかなる特徴をもっているのか、それらの現象がいかなる本質を持つか、ということである。
English: Only the Buddha knows what they are, how they are, like what they are, and of what characteristics and of nature they are.
Japanese: それらの現象が何であり、どのようなものであり、いかなるものに似ており、いかなる特徴があり、いかなる本質をもっているかということは、如来だけが知っているのだ。
English: Consequently, the junyoze is not seen in the Sanskrit original, and not found in "Sho Hokke-kyo (the Lotus Sutra)" by Fahua ZHU, "Tenbon Myoren Hokke-kyo (the Lotus Sutra)" by Jnana-gupta and Dharmagupta, or "Hokkeron (the Treatise on the Lotus Sutra)" by Seshin.
Japanese: したがって、この十如是は、梵文原典には無く、また竺法護の「正法華経」、闍那崛多・達磨笈多共訳の「添品妙法蓮華経」、そして世親の「法華論」にも見当たらない。
English: It is found only in the Lotus Sutra (Myohorenge-kyo) translated by Kumaraju.
Japanese: 唯一、鳩摩羅什が訳出した法華経（妙法蓮華経）にのみ見出されるものである。
English: Ears and nose consist of four elements, but only eyes are capable of seeing things and nose is incapable of doing so.
Japanese: 眼・耳は、同じく四大の造なりと雖（いえど）も、而（しか）も眼のみ独り能く見、耳には見る功なきが如し。
English: Buddha knows various natures and forms of all living things; that is, Buddha knows that if you follow your interests, you will place much emphasis on such things you are interested in disproportionately.
Japanese: 仏は是の衆生の種種の性相は、所謂趣向する所に随って、是くの如く偏に多くを知りたまう。
English: Therefore, it is assumed that Kumaraju converted the nine factors of the universe such as "the embodiment, the dharma (function), the potency, the primary cause, the secondary cause, the effect (result and recompense), the nature, the hindrance (form) and expedient means to open a way through (complete fundamental whole)" into the junyoze.
Japanese: したがって、これは鳩摩羅什が大智度論の「体・法（作）・力・因・縁・果（果・報）・性・限礙（相）・開通方便（本末究竟等）」などの九種法を変形展開し、十如是としたと推定されている。
English: In other words, it has been commonly viewed that junyoze (Buddhism Ten Factors of Life) in the Chapter of Expedient Means of "the Lotus Sutra" is a free translation by Kumaraju or dogma.
Japanese: つまり、これは鳩摩羅什による意訳、あるいはドグマである、というのが通説となっている。
English: However, some says that this free translation or dogma was made to get the most out of the Lotus Sutra or make best use of it, not made by his selfish interpretation.
Japanese: ただし、この意訳及びドグマは、いわゆる身勝手な解釈から成されたものではなく、鳩摩羅什が法華経の内容を最大限に引き出す、あるいは活かすために成されたものであるという意見もある。
English: In particular, each school of the Nichiren sects which succeeded the Tendai doctrine has studied the junyoze from every angle because they use jukkaigogu (mutual containment of the ten realms) and ichinen sanzen (the three thousand realms contained in one mind) as the fundamental doctrine of the Buddhism based on the Junyoze.
Japanese: 特に、天台教学を引継いだ日蓮宗各派でも、この十如是を始として十界互具、そして一念三千を仏法の極理としているため、この十如是を様々な角度から検証している。
English: Some people say that even if junyoze is free translation, it has strength which lacks in the original Sanskrit or other Lotus Sutra and that the brilliance of Kumaraju is impressive.
Japanese: たとえ意訳であっても梵文原典や他訳の法華経にはない力強さを感じるとともに、鳩摩羅什の聡明たる才に感嘆する、という意見もある。
English: However, some argue against this view that the ichinen sanzen was a doctrine derived from the junyoze, and was originated from free translation or dogma.
Japanese: ただし、これらの意見に対しては反論もなされており、一念三千は十如是から派生した教理であり、意訳、もしくはドグマから始まったものである。
English: They also say that although the ichinen sanzen is treated as an important doctrine of the Tendai sect, it is only mentioned once by Zhiyi in his Makashikan (Mahayana Practice of Cessation and Contemplation) vol. 5; notwithstanding, Tannen called it 'utmost and fundamental.'
Japanese: また、一念三千は天台宗の重要な教理であるとするも智顗は摩訶止観5で、たった一度しか言及していないものを湛然が「終窮・究極」と配しただけであると。
English: The murals in the Kondo of Horyu-ji Temple are Buddhist paintings around the late seventh century, which were painted on the walls of the Kondo of the Horyu-ji Temple in Ikaruga Town, Nara Prefecture.
Japanese: 法隆寺金堂壁画（ほうりゅうじこんどうへきが）は、奈良県斑鳩町の法隆寺金堂の壁面に描かれていた7世紀末頃の仏教絵画である。
English: The murals in the Kondo of Horyu-ji Temple represented the ancient Buddhist paintings in Asia, together with the murals in Ajanta Caves in India and the murals in Mogao Caves in Dun-huang City in China.
Japanese: インド・アジャンター石窟群の壁画、敦煌市莫高窟（とんこうばっこうくつ）の壁画などとともに、アジアの古代仏教絵画を代表する作品の1つであった。
English: However, the murals in the Kondo of Horyu-ji Temple were burnt by fire in 1949 (please refer to the images of the murals in external links).
Japanese: が、1949年の火災で焼損した（壁画の画像は外部リンクを参照のこと）。
English: The murals in the Kondo of Horyu-ji Temple' often refers to the 12 murals on the mud walls of the Kondo gejin (part of the main sanctuary outside the innermost sanctum of a shrine), however, there were additional murals as follows: 20 murals of Hiten (a flying Apsaras, a flying Buddhist angel playing music) on kokabe (the wall between the kamoi [a generic term for a head jamb, normally have tracks for sliding doors or partitions] and the ceiling) of the naijin (inner sanctuary of a shrine or temple), and 18 murals of Sanchu Rakan zu (painting of Arhat in mountain) on the kokabe of the gejin.
Japanese: 「法隆寺金堂の壁画」といえば、金堂外陣（げじん）の土壁に描かれていた12面の壁画を指すことが多いが、これらの他に内陣小壁の飛天の壁画20面と、外陣小壁の山中羅漢図18面があった。
English: Among the mural paintings, the fire of the Kondo in 1949 burnt 12 murals of the gejin and completely destroyed the Rakan zu (painting of Arhat) on the kokabe without any remain.
Japanese: このうち、外陣の壁画12面は1949年の金堂の火災で焼損し、小壁の羅漢図は跡形もなく粉砕されてしまった。
English: As 20 Hiten mural paintings on the kokabe of the naijin were removed and stored in another place at the time of the fire, they spared from the tragedy.
Japanese: 内陣小壁の飛天の壁画20面のみは火災当時取り外されて別の場所に保管されていたため難をまぬがれた。
English: The artistic value of the murals in the Kondo of Horyu-ji Temple was already recognized since the early Meiji period (late 19th century) when investigation and protection of cultural properties were started in Japan.
Japanese: 法隆寺金堂壁画の芸術的価値は、日本において文化財の調査・保護が始まった明治時代初期（19世紀末）からすでに認識されていた。
English: A discussion that how to prevent the deterioration of the murals and how to preserve for future generations had already been started since Meiji period.
Japanese: いかにして壁画の劣化を食い止め、後世に伝えていくかについては、すでに明治時代から検討が行われていた。
English: The project to reproduce the murals by top artist painters at the time had been started since 1940.
Japanese: 1940年（昭和15年）からは、当時の一流の画家たちを動員して壁画の模写事業が開始された。
English: The reproduction project continued through World War II and after, but the Kondo was burnt in a suspicious fire in 1949.
Japanese: 模写事業は第二次世界大戦をはさんで戦後も続けられたが、1949年（昭和24年）、不審火によって金堂が炎上。
English: This mural burning has been recorded as a symbolic accident in the history of protecting cultural assets in Japan.
Japanese: この壁画焼損事件は、日本の文化財保護の歴史における象徴的な事件として記憶されている。
English: Additionally, January 26, when the murals were damaged by fire, became Bunkazai Boka Day (Cultural Property Fire Prevention Day), and temples and shrines were to participate in fire-fighting exercises throughout Japan.
Japanese: また、壁画が焼損した1月26日は文化財防火デーと定められ、日本各地の社寺等で消火訓練が行われている。
English: Today, the murals in the Kondo of Horyu-ji Temple were reproduced by well-known painters over a period from 1967 to 1968 (which are different replicas created since 1940, mentioned previously in this section).
Japanese: 現在、法隆寺金堂にある壁画は1967年から1968年（昭和42-43年）にかけて、当時の著名画家たちによって模写されたものである（前述の1940年から開始された模写とは別物）。
English: The original burnt murals are kept intact with the burnt pillars in a repository next to Daihozoden (Treasure House) in the Horyu-ji Temple, and are not open for general viewing.
Japanese: 焼け焦げたオリジナルの壁画は法隆寺内の大宝蔵殿の隣の収蔵庫に、焼け焦げた柱などと共に保管されているが、一般には公開されていない。
English: In the first layer of the Kondo in Horyu-ji Temple, the gejin has five Ken (space between pillars) in the front and four Ken in the side, and the naijin three in the front and two in the side.
Japanese: 法隆寺金堂初層は外陣（げじん）が正面5間、側面4間、内陣が正面3間、側面2間である。
English: Around the gejin, there is a hisashi (a long, thin hallway which surrounded the main wing of an aristocrat's home, in traditional Heian architecture) called mokoshi (double-roof structure) which is the only place to permit ordinary visitors to enter.
Japanese: 外陣の周囲には裳階（もこし）と呼ばれる廂（ひさし）部分があり、一般拝観者が立ち入りを許されるのはこの裳階部分である。
English: In this section, 'Ken' does not represent the length of the measurement system, it is an architectural term for representing the number of intervals between two pillars; 'five Ken' refers to five hashirama (an interval of a space between two pillars) in six lines of pillars.
Japanese: ここでいう「間」は長さの単位ではなく柱間の数を表す建築用語であり、「5間」とは柱が1列に6本並び、柱間が5つあるという意味である。
English: Doors were installed in the following six hashirama in gejin: Center three Ken of front five Ken, back center, second from the north in both sides.
Japanese: 外陣の正面5間のうち中央の3間、背面の中央間、両側面のそれぞれ北から2間目、以上6面の柱間には扉が設けられていた。
English: Entering through east side door, the wall No. 1 is on the left, and the next (the south side) No. 2, then numbering in a clockwise fashion to the wall of the north side of the east door, the wall No. 12.
Japanese: 東側の扉を入って左側の壁が1号壁でその隣（南側）が2号壁、以下、時計回りに番号が振られ、東側扉の北側に位置する壁が12号壁である。
English: There are two different sized walls: Taiheki (the large wall) with approximately 255 to 260 centimeters wide, and Shoheki (the small wall) with approximately 155 centimeters wide (each wall has a height of approximately 310 centimeters).
Japanese: 壁面の大きさは横幅255-260cm前後の大壁（たいへき）と横幅155cm前後の小壁（しょうへき）の2種類がある（壁面の高さはいずれも約310cm）。
English: There are four Taiheki such as No. 1 wall on the east side, No. 6 wall on west, No. 9 and No. 10 walls on each side of the center door of the north side.
Japanese: 東面の1号壁、西面の6号壁、北面中央扉の左右に位置する9号壁と10号壁の計4面が大壁である。
English: Shoheki walls were placed right above the murals of the above-mentioned 12 walls, that is, between the kashira-nuki (head rail, wood connected horizontally through crossing the top of the pillars) and the ceiling.
Japanese: 上記12面の壁画のすぐ上、すなわち頭貫（かしらぬき、柱の頂部を水平方向につなぐ材）と天井の間の小壁面があった。
English: On the Shoheki walls, 18 murals of Sanchu Rakan zu were painted (there were other Shoheki above the six doors, and then the total was 18 walls).
Japanese: 小壁面には、山中羅漢図の壁画18面があった（6箇所にある扉の上にも小壁面があったので計18面となる）。
English: Regarding this Rakan zu, five murals were already painted over before Meiji period; the remaining murals were ruined by fire of the Kondo in 1949 and do not exist today.
Japanese: この羅漢図壁画については、明治時代以前に5面がすでに塗りつぶされており、残りも1949年の金堂の火災の際に粉砕され、現存していない。
English: Other than above, we only know their rough design from the reproduction created by a painter, Koun SAKURAI in the Meiji period.
Japanese: あとは明治時代に桜井香雲という画家が残した模写によっておおよその図様を知るのみである。
English: In the naijin, there were three Ken in the front, two Ken in the side, then 10 hashirama in total of the front, the back and the both sides.
Japanese: 内陣は正面3間、側面2間で、正面、背面、両側面に計10間の柱間があった。
English: The mural on the east edge of the south wall was No. 1, then No. 2 and No. 3, continuing in a clockwise fashion ending with the No. 20 on the south edge of the east wall.
Japanese: 南側東端が1号で、以下時計回りに2号、3号と続き、東側南端が20号である。
English: Since these mural paintings were removed prior to the fire in 1949 and kept in the different place, they were spared from tragedy.
Japanese: これらの壁画は、1949年の火災の際には取り外されて別途保管されていたため難をまぬがれた。
English: Among the 12 murals of the gejin, four Taiheki walls, such as murals No. 1, No. 6, No. 9, and No. 10, have the Illustration of the Pure Land with Sansonbutsu (three Buddhist deities) in the center.
Japanese: 外陣の壁画12面のうち、1号、6号、9号、10号の4面の大壁には三尊仏を中心にした浄土図が表されている。
English: In the Taisho period (1912 to 1926), an art historian, Seiichi TAKI, expressed the opinion that the murals depicted Shiho Shibutsu (Four Buddhas of the four directions) in Konkomyo-kyo Sutra (Golden Light Sutra).
Japanese: 大正時代、美術史家の瀧精一はこれを金光明経に説かれる四方四仏を表したものであるとする説を唱えた。
English: Shiho Shibutsu of Konkomyo-kyo Sutra was Ashuku Nyorai (Ashukubutsu [Aksobhya]) for the east, Muryoju Butsu (Buddha of limitless life, also known as Amida Nyorai [Amitabha Tathagata]) for the west, Hoso Butsu (Buddha with Great Treasures) for the south and Mimyosho Butsu (Delicate and Wonderful Voice Buddha) for the north.
Japanese: 金光明経の四方四仏とは、東＝阿閦如来（あしゅくぶつ）、西＝無量寿仏（阿弥陀如来）、南＝宝相仏、北＝微妙声仏（みみょうしょうぶつ）である。
English: In the opinion, it is acceptable from the iconographic characteristics that the image on the West Taiheki (No. 6 wall) is Muryoju Butsu (Amida).
Japanese: この説については、西大壁（6号壁）に描かれているのが図像的特色からみて無量寿仏（阿弥陀）であることは首肯できる。
English: However, the other depictions, such as Ashukubutsu, Hoso Butsu and Mimyosho Butsu, were difficult to indentify from their iconographic characteristics and the opinion was lacking decisive factors.
Japanese: が、他の阿閦仏、宝相仏、微妙声仏については図像的特色からこれらの仏であると特定することは困難で、決め手を欠いていた。
English: As for the subject of these Taiheki, the following opinion is accepted today (according to the opinion of Rikichiro FUKUI and others).
Japanese: これらの大壁の主題について、今日では次のようにするのが定説となっている（福井利吉郎らの説）。
English: No. 1 wall is Shaka Jodozu (Illustration of Pure Land of the Buddha), No. 6 wall Amida Jodozu (Illustration of the Pure Land of Amida), No. 9 wall Miroku Jodozu (Illustration of the Pure Land of Maitreya), and No. 10 wall Yakushi Jodozu (Illustration of the Pure Land of Bhaisajyaguru).
Japanese: 1号壁＝釈迦浄土図、6号壁＝阿弥陀浄土図、9号壁＝弥勒浄土図、10号壁＝薬師浄土図。
English: Although there were no particular Buddhist scriptures that instructed in the four directional set of the Buddha, Shaka or Shakyamuni, Amida, Miroku (Maitreya) and Yakushi (Bhaisajyaguru), there were several examples similar to the ones listed, dating to ancient times.
Japanese: 釈迦、阿弥陀、弥勒、薬師という四仏の組み合わせは特定の経典に説かれるものではないが、この四仏の組み合わせによる造像は古代にはしばしば見られたものである。
English: For example, a record (the Kofukuji Ruki [Records of Kofuku-ji Temple]) shows that a group of sozo (a statue made from a wood core, coated with clay) that depicted the Pure Land of Shaka, Amida, Miroku and Yakushi were placed in the first layer of the five-storey pagoda of the Kofuku-ji Temple in Nara built in 730.
Japanese: たとえば天平2年（730年）に建立された奈良・興福寺五重塔の初層には釈迦、阿弥陀、弥勒、薬師の浄土を表現した塑像群が安置されていたことが記録（興福寺流記）から知られる。
English: Although the attendant figures of Shaka Nyorai (Buddha Shakyamuni) are commonly described as Monju Bosatsu (Manjusri) and Fugen Bosatsu; the attendant figures in this mural painting are unlike Monju and Fugen in their usual iconographic image depiction.
Japanese: 釈迦如来の脇侍は文殊菩薩・普賢菩薩とする場合が多いが、本図の脇侍菩薩は図像的に文殊・普賢とは思われない。
English: Because there is a Kebutsu (an artificial small sized statue of the Buddha) of Amida on her hokan (crown), this is identified as a Kannon Bosatsu (Kannon Buddhisattva, an attendant figure of the Amida Buddha).
Japanese: 宝冠に阿弥陀の化仏（けぶつ、小型の仏像）があることから、観音菩薩（阿弥陀仏の脇侍）であることがわかる。
English: It is paired with the Kannon image on the wall No. 3, of which outline is almost the same as the mirror image of the Seishi Bosatsu.
Japanese: 3号壁の観音像と対になるもので、像の輪郭線も3号壁のものと向きが反対になるだけでほぼ同じである。
English: It is undoubtedly that the Bosatsu image on the wall No. 5 is paired with the Bosatsu image on the wall No. 2, and they face each other.
Japanese: 2号壁の菩薩像と向かい合う位置にあり、一対の像であることは明らかである。
English: Therea are some opinions regarding these two Bosatsu image of the wall No. 2 and the wall No. 5, including that they are Nikko Bosatsu (Bodhisattva of Sunlight) and Gakko Bosatsu (Bodhisattva of Moonlight, of the attendant figures of Yakushi Nyorai [the Healing Buddha]) respectively, or they are the attendant figures of Miroku Buddha.
Japanese: 2号壁と5号壁の両菩薩像については、日光・月光菩薩（薬師如来の脇侍）とする説、弥勒仏の両脇侍菩薩とする説などがある。
English: Centered on Amida Sanzon (Amida, Kannon, and Seishi), 17 images are depicted at the bottom, and 8 images at the top.
Japanese: 阿弥陀三尊（阿弥陀、観音、勢至）を中心に、下部に17体、上部に8体を表す。
English: This design of the mural is interpreted as an expression of the Jodo (Pure Land) of 'Muryoju-kyo' (The Infinite Life Sutra), one of the Jodo Sanbu-kyo (the three main sutras of the Jodoshu sect).
Japanese: この図様は浄土三部経の1つ「無量寿経」所説の浄土を表すものと解釈されている。
English: By a Kebutsu (small Buddha statue) of Amida on her hokan, the statue is identified as a Kannon Bosatsu.
Japanese: 宝冠に阿弥陀の化仏（けぶつ、小型の仏像）があることから、観音菩薩であることがわかる。
English: It is difficult to identify the image of the wall No. 8 by the iconographic characteristic, however, it is estimated as Monju Bosatsu (an attendant figure of the left of Shaka Nyorai) since the image on the wall No. 11, which is paired with the image on the wall No. 8, is Fugen Bosatsu (an attendant figure of the right of Shaka Nyorai).
Japanese: 図像的特色からは尊名の確定が困難であるが、この絵と対をなす11号壁が普賢菩薩（釈迦如来の右脇侍）像であることから、8号壁の像は文殊菩薩（釈迦如来の左脇侍）像であると判断される。
English: Centered around Miroku Sanzon (the Maitreya Triad), two images of Tenbu (deities who reside in a heavenly realm, one of six realms in which the souls of living beings transmigrate from one into another), four images among Hachi Bushu (or Eight Legions, Protectors of Buddhist Teachings), two images of Rakan (also known as Lohan, or achiever of Nirvana), and two images of Kongo Rikishi (Vajrapani, wielder of the vajra).
Japanese: 弥勒三尊を中心に、天部2体、八部衆のうち4体、羅漢2体、力士2体を表す。
English: Seen from the photograph before the fire damage, the design is unclear due to the severe falling of the mural in whole, possibly by exposure to the afternoon sun.
Japanese: 焼損前の写真を見ても、西日が当たる位置にあったためか、全体に剥落が激しく、図様がはっきりしない。
English: Centered on Yakushi sanzon (Yakushi Triad), two images of Bosatsu, two images of Rakan, four images of Shinsho (protective deity), and two images of Kongo Rikishi, and so on, are depicted in the mural.
Japanese: 薬師三尊を中心に菩薩2体、羅漢2体、神将4体、力士2体などを表される。
English: Examined the photograph before the fire damage, it was preserved in relatively good condition, however, the color of the face and body of Yakushi Nyorai zo (image of Yakushi Nyorai) had darkened.
Japanese: 焼損前の写真を見ると、比較的保存状態はよいが、薬師如来像の顔面や肉身が変色して黒ずんでいた。
English: As previously mentioned, the 20 murals in existence have exactly the same design, depicting two flying tennin.
Japanese: 前述のように20面が現存するが、20面とも図様はまったく同じで、飛翔する天人2体を表す。
English: Thanks to less exposure to direct sunlight, the murals of the walls No. 14 and No. 16 on the north face are preserved well.
Japanese: 直射日光があまり当たらなかったと思われる北面の14号壁、16号壁などが保存状態がよい。
English: It is estimated that the sketches traced to the wall surface by the two methods such as Nenshiho (the carbon paper method) and Oatsu Senbikiho (a transcription method by pressing).
Japanese: 下絵を壁面に転写するには念紙法、押圧線引法という2つの技法が使われたと推定されている。
English: In the Nenshiho method, a sketch, of which colored powders (charcoal, Bengal red, and so on) are placed on the backside, are set on the wall surface then traced its outlines with a spatula and others.
Japanese: 念紙法は、下絵の裏面に色粉（木炭、弁柄など）を置き、これを壁面に乗せ、ヘラなどで輪郭線をなぞる。
English: In the Oatsu Senbikiho method, a sketch is placed on the wall surface and traced its outlines with a pointed stick or others to engrave the talwegs on the wall.
Japanese: 押圧線引法は下絵を壁面に乗せ、先のとがった棒などで輪郭をなぞり、壁面に凹線を刻むものである。
English: The mural was created by the method that the outlines were drawn in Bengal red after copying a sketch and colored on the wall.
Japanese: 下絵の転写後、彩色のうえ、輪郭線を弁柄で書き起こすという技法で制作されている。
English: The coloring emphasizes the contrast between red and green pigments and many kumadori (a technique to express special by shading) are used to been given a three-dimensional appearance.
Japanese: 彩色は赤系と緑系のコントラストを強調し、立体感を出すために隈取りを多用している。