nntsuzu/KFTT huggingface dataset:
English: It enables the expression of such delicate neutral colors as 'futa-ai' (bluish purple obtained by dyeing with both deep red and indigo blue) and 'kobai' (color of reddish pink plum blossoms) which required complicated mixed dyeing, as well as kuchiba-iro (reddish yellow, literally, color of a dead and fallen leaf), moegi-iro (yellowish green, literally, color of a sprouting long green onion), miru-iro(blackish yellowish green, literally, color of miru, a kind of green algae) and asagi-iro(pale blue, literally, color of a thin blade of a long green onion).
Japanese: 複雑な交染めを必要とする「二藍」や「紅梅」さらには、朽葉色、萌黄色、海松色、浅葱色など、中間色の繊細な表現を可能とした。
English: The hishi (also known as ganpishi) is the most suitable to bring out a flowing line of kana letters.
Japanese: かな文字の流麗な線を引き立てるには、斐紙（雁皮紙）が最も適している。
English: The craftsmen in Kyoto devoted themselves to processing ganpishi such as the techniques of paper splicing including suminagashi, uchigumo (paper with a flying cloud), tobikumo (a flying cloud-like pattern appearing on indigo-blue and purple fiber-included paper), kiri-tsugi (cutting and splicing), yaburi-tsugi (cutting two kinds of paper with their ends in a swung dash form and splicing them) and kasane-tsugi (cutting five gradated kinds of paper with their ends in a swung dash form and splicing them), and 'karakami' with patterns that imitated Chinese mon-toshi (colored karakami with patterns), and completed sophisticated processing techniques particular to Japanese paper.
Japanese: 墨流し、打ち雲、飛雲や切り継ぎ、破り継ぎ、重ね継ぎなどの継ぎ紙の技巧そして、中国渡来の紋唐紙を模した紋様を施した「から紙」など、京の工人たちは雁皮紙（がんぴし）の加工に情熱を注ぎ、和紙独特の洗練された加工技術を完成させた。
English: Not only ryoshi for the royalty and nobility but also various papers for practical use were processed in Kyoto.
Japanese: 王朝貴族の料紙（りょうし）ばかりではなく、実用的なさまざまな加工紙が京で加工された。
English: In the "Shokoku yorozukaimono choho-ki" (a guide book for shopping in various provinces) published in 1692, there are descriptions of ceremonial paper strings, a colored strip of paper, a cover, shicho (a paper-made mosquito net) and karakami as well as a basal paper for fans and a paper treated with astringent persimmon juice as noted products.
Japanese: 元禄5年（1692年）刊の『諸国万買物調方記』には、山城の名産として扇の地紙、渋紙のほか、水引、色紙短冊、表紙、紙帳、から紙などをあげている。
English: Besides, there was the Mannen kanya (Mannen paper mill) and the Karuta kanya (Karuta paper mill) in Kyoto, which was also the home of hankiri-gami (a paper for letters, whose size was a half that of Sugihara paper) production.
Japanese: このほかにも万年紙屋（かんや）、かるた紙屋（かんや）があり、半切紙の加工も京都が本場であった。
English: The mannen-gami (eternal paper) is a memo paper coated with a transparent Japanese lacquer and written on with a writing brush, and as it's name indicates from its characters, a letter written in sumi comes off when it is wiped with a damp cloth and it can be used for many years.
Japanese: 万年紙は、透明な漆を塗布した紙で、墨筆で書くメモ用の紙で、湿った布で拭けば墨字が消え、長年に使えるので万年紙の名ががある。
English: According to the book, the process of manufacture is as follows; dye both sides of a thick paper (Senka-shi or Senka paper) made of kozo with the juice of gardenia, apply astringent persimmon juice once and dry, give a final coat of transparent lacquer for a flecked effect, dry in a drying room for coated lacquer ware and use in a folded form.
Japanese: 製法は、楮（こうぞ）の厚紙（泉貨紙）の表裏を山くちなしの汁で染め、渋を一度引いて乾かし、透明な梨子地漆で上塗りして、風呂に入れて漆を枯らし、折本のように畳んで用いるとある。
English: The colored paper and strip of paper needed a higher process than hankiri-gami, and the colored strip paper was processed along Bukkoji-dori Street where there were many long-established stores as purveyors to the Imperial Court.
Japanese: 色紙や短冊は、この半切紙に比べてより高級な加工が必要であったが、宮中御用の老舗が多かった仏光寺通りが色紙短冊の加工の中心であった。
English: The processing of karakami began in the Heian period as a paper for eiso and later became the major fusuma paper, and in the art village of Koetsu HONAMI in Saga, Soji KANYA made a beautiful paper for Saga-bon (books published by Koetsu HONAMI, Soan SUMINOKURA and others in Saga, Kyoto).
Japanese: から紙は、平安時代には詠草料紙として加工が始まり、後にふすま紙の主流となったが、本阿弥光悦の嵯峨の芸術村では、紙屋（かんや）宗二が嵯峨本などの用紙として美しい紙をつくった。
English: For the basal paper of karakami the dan-shi (Japanese paper of high quality made from mulberry trees) (a kind of kozo paper) and torinoko paper (a kind of ganpishi) were originally used, and for 'Kyo karakami' torinoko paper and hoshogami were used.
Japanese: から紙の地紙はもともと檀紙（楮紙）や鳥の子紙（雁皮紙）が使われ、「京から紙」は主に鳥の子紙と奉書紙が用いられた。
English: Usu-yo of ganpishi, called hishi, was especially used by noblewomen during the Heian period preferably and the word 'usu-yo' became a popular name.
Japanese: 斐紙（ひし）と呼ばれていた雁皮紙は、特にその薄様が平安時代に貴族の女性達に好んで用いられ、「薄様」が通り名となっていた。
English: This ganpishi came to be called torinoko during the period of the Northern and Southern Courts.
Japanese: この雁皮紙が鳥の子と称されるようになるのは、南北朝時代頃からである。
English: In section 1328 of "Zatsuji-ki" (a record of miscellaneous matters) written by Hironori AJIRO, there is the word 'torinoko colored paper,' in the section of year 1356 of "Gukan-ki" (the diary of Michitsugu KONOE in Chinese characters) there is the word 'torinoko paper for writing,' and in section of year 1431 in "Kamon-nikki" (a diary written by Gosukoin) there is the word 'torinoko paper for writing.'
Japanese: 足代弘訓の『雑事記』の嘉暦3年（1328年）の条に「鳥の子色紙」の文字があり、『愚管記』の延文元年（1356年）の条に、「料紙鳥子」とあり、さらに後崇光院の『看聞（かもん）日記』永享七年(1431)の条にも「料紙（りょうし）鳥子」の文字が見える。
English: As the age of feminine culture of the nobility during the Heian period changed to the age of the masculine society of the samurai class in the medieval times, more atsu-yo of ganpishi came to be used, called torinoko paper as opposed to usu-yo.
Japanese: 平安の女性的貴族文化の時代から、中世の男性的武士社会にはいって、厚用の雁皮紙（がんぴし）が多くなり、薄様に対してこれを鳥の子紙と呼んだ。
English: In "Nobutane-kyo-ki" (the diary of Nobutane NAKANOMIKADO there is the word of 'Echizen-dain' (越前打陰) (torinoko paper with a pattern of clouds on both sides, also called daunshi) in section of year 1488 and the word 'Echizen torinoko' in section of year 1502.
Japanese: 『宣胤（のぶたね）卿記』の長享2年（1488年）の条に「越前打陰」（鳥の子紙の上下に雲の紋様を漉き込んだもので、打雲紙ともいう）、文亀2年（1502年）の条に「越前鳥子」の文字が記されている。
English: The word 'Echizen torinoko' is often seen in the other historical documents, and torinoko paper made in Echizen Province was popular as a good quality paper during the mid-Muromachi period.
Japanese: 「越前鳥子」の文字は他の史料にも多くあり、室町中期には越前の鳥の子が良質なものとして、持てはやされるようになっている。
English: Efforts to put patterns on paper began in the period of the Northern and Southern Dynasties in China and developed further during the age of the Sui and the Tang.
Japanese: 紙に紋様をつける試みは中国の南北朝時代に始まり随・唐時代に発展した。
English: In Japan, since the Nara period, efforts to make 'karakami' imitating the 'mon-toshi' (pattern printed Chinese paper) printed by woodblock in China began and it was called 'karakami' as opposed to 'toshi' (imported Chinese paper).
Japanese: 日本でも奈良時代から行われ、中国の木版印刷による「紋唐紙」をまねて「から紙」作りが試みられ、「唐紙」にたいして「からかみ」と称した。
English: As the craftsmen of paper processing in Kyoto introduced various devices and methods for mass-production, it spread as 'karakami' for 'fusuma.'
Japanese: 京の紙加工の工人によってさまざまの独自の工夫が施され、量産されるようになって「ふすま」用の「から紙」に用いられるようになった。
English: In addition, accumulation of techniques for woodblock printing made it popular as a Japanese paper with colored figures among common people during the Edo period.
Japanese: さらに木版印刷の技術の蓄積により、江戸時代になって千代紙として庶民にも親しまれるようになった。
English: The production of 'karakami' began in Kyoto, the capital, and Kyoto was the birthplace and center for making paper with sophisticated techniques.
Japanese: 「からかみ」作りは、もともと都であった京で始まったもので、京都が発祥地であり本場であり、その技術も洗練されていた。
English: In the art village in Takagamine of Koetsu HONAMI in early recent times, karakami as ryoshi, like 'Saga-bon' was produced and the techniques of Kyo-karakami grew more sophisticated, and the kami-shi in Kyoto succeeded its tradition.
Japanese: 近世初期の、本阿弥光悦の鷹ケ峰芸術村では、「嵯峨本」などの料紙としてのから紙を制作し、京から紙の技術をさらに洗練させ、京の唐紙師（かみし）がその伝統を継承していった。
English: Koetsu HONAMI (1558-1637) was the son of Soshun TAGA and he became the adopted child of Koshin HONAMI whose profession was polishing swords.
Japanese: 本阿弥光悦（1558ー1637）は多賀宗春の子で、刀剣の鑑別。研磨を業とする本阿弥光心の養子となった。
English: Not only did he showed his creative abilities in pictures, gold and silver lacquer work, and ceramic art, but he was also one of the three best calligraphers in the Kanei era.
Japanese: 絵画・蒔絵・陶芸にも独創的な才能を発揮したが、書道でも寛永の三筆の一人でもあった。
English: In 1615, during his later years, he was given spacious premises at Takagamine in the northern suburb of Kyoto by Ieyasu TOKUGAWA, and ran an art village where various craftsmen got together that was unified by his own spirit of art.
Japanese: 本阿弥光悦の晩年の元和(日本)元年（1615年）、徳川家康から洛北の鷹ケ峰に広大な敷地を与えられ、各種の工芸家を集め本阿弥光悦流の芸術精神で統一した芸術村営んだ。
English: The important theme of art of Koetsu HONAMI was reviving the cultures of the dynasty age, one of which was the revival of paper for eiso and the production of 'karakami' as ryoshi for Saga-bon as well as for calligraphy.
Japanese: 本阿弥光悦の芸術の重要なテーマは王朝文化の復興であり、その一つとして王朝時代の詠草料紙の復活と「からかみ」を作り、書道の料紙とするとともに、嵯峨本の料紙とすることであった。
English: The Saga-bon was also called Kadokura-bon (a Kadokura book) or Koetsu-bon (a Koetsu book), and began to be published by Soan SUMINOKURA, a wealthy person in Saga who was said to be one of the three richest men in Kyoto, mainly in the area of Japanese literature printed in the handwriting style of Koetsu HONAMI.
Japanese: 嵯峨本は、別名角倉本、光悦本ともいい、京の三長者に数えられる嵯峨の素封家角倉素庵が開版し、多くは本阿弥光悦の書体になる文字摺りの国文学の出版であった。
English: "Ise Monogatari" (The Tales of Ise) of Saga-bon published in 1608 contained the first illustration that was engraved on a plate.
Japanese: 慶長13年（1608年）開版の嵯峨本『伊勢物語』は、挿し絵が版刻された最初のものであった。
English: Influenced by Saga-bon, other books such as kana-zoshi (story book written in kana during the early Edo period (primarily for the enlightenment and entertainment of women and children)), joruri-bon (books of scripts of joruri - the narrative which accompanies a Bunraku puppet show) and hyoban-ki (books of public estimation on various matters) adopted engraved plate illustrations.
Japanese: 嵯峨本の影響を受けて、仮名草紙、浄瑠璃本、評判記なども版刻の挿し絵を採用するようになった。
English: The prevalence of kana-zoshi led to the literary works of Saikaku IHARA and the printed books with illustration and letters became mass-produced to meet demand.
Japanese: 仮名草紙の普及で、のちに西鶴文学が生まれ、挿し絵と文字を組み合わせた印刷本が、庶民の要望に応えて量産されるようになった。
English: The characteristics of Saga-bon were luxury and grace, and its designs of binding, ryoshi and illustration were excellent.
Japanese: 嵯峨本は、豪華さと典雅さを特徴とし、装丁・料紙・挿し絵のデザインのきわめて優れたものであった。
English: For ryoshi, Sotatsu TAWARAYA drew designs in the cultural tradition of the dynasty age and added new decorative factors.
Japanese: 料紙は王朝文化の伝統に新しい装飾性を加えた図案を俵屋宗達が描いている。
English: Sotatsu TAWARAYA was a painter who flourished from 1596 to 1643, and his own expression and style of painting with elaborate skills in the art village of Koetsu were later recognized by the Imperial Court, and consequently, he, together with the painters of a painting circle of the first rank such as the Kano school, received a contract for painting work and drew existing fusuma paintings and paintings for folding screens, and was appointed to 'hokyo' (a title for craftsmen including painters and persons of profession such as physicians) exceptionally as a painter who grew up among the townspeople.
Japanese: 俵屋宗達は慶長から寛永にかけて活躍した絵師で、光悦の芸術村での独特の表現と技術を凝らした画風がのちに宮廷に認められ、狩野派など一流画壇の絵師たちと並んで仕事を請け負うようになり、町の絵師の出身としては異例の「法橋」に叙任され、今日に残るふすま絵や屏風絵の名作を描いている。
English: Sotatsu TAWARAYA made a strong impact on the later Korin OGATA and following other painters of Rinpa School.
Japanese: 俵屋宗達は、のちの尾形光琳やその流れを汲む琳派に強い影響を与えている。
English: It was Soji KAMISHI who was in charge engraving designs for this Sotatsu TAWARAYA and printing to make paper for karakami.
Japanese: この俵屋宗達の図案を版木に彫り、印刷してから紙料紙にする仕事を担当したのが紙師宗二である。
English: Soji KAMISHI was a craftsman who joined the activity in the art village of Koetsu, and the letters of 'kamishi' did not mean an artisan who made paper but meant kami-shi (a master of karakami).
Japanese: 紙師宗二は、光悦の芸術村活動に参加した工芸家で、「紙師」の文字は、紙を漉く工人を意味するのではなく、唐紙師の意で称されている。
English: Harmonized with the idea of Koetsu, the design of Sotatsu and the processing technique of Soji, produced a beautiful ryoshi of karakami.
Japanese: 光悦の発想と宗達の意匠に宗二の加工技術が調和して、美しいから紙の料紙が生み出された。
English: The 'karakami' produced in the art village was mainly ryoshi for publishing Saga-bon and ryoshi for eiso, and its technique was transmitted to a part of Kyo kami-shi in recent times and laid the foundation for Kyo karakami.
Japanese: 芸術村で作られた「から紙」は、ほとんどが嵯峨本の出版用の料紙や詠草料紙であったが、近世の京唐紙師の一部にその技術が伝承されて、京からかみの基礎を築いたとも言える。
English: Among the patterns of kyo karakami, there were designs such as Koetsu-giri (Koetsu paulownia) and those of the school of Sotatsu-Korin which originated from Korin-matsu (Korin pine), Korin-giku (Korin chrysanthemum) and Korin-onami (Korin billow).
Japanese: 京からかみの紋様のなかに光悦桐や、宗達につながる琳派の光琳松、光琳菊、光琳大波などのデザインがある。
English: In the "Yoshufu-shi" (a geographical description of Yamashiro Province) published in 1648, there is a description on kami-shi in Kyoto as 'This is now made in a number of places. However, the one made by the Iwasa clan of Nijo-minami, Higashinotoin is best for papering fusuma sliding doors, and is exclusively used,' and in the "Shinsen Kamikagami" (Newly edited Kamikagami) there is a description as 'a number of karakami craftsmen living in Higashinotoin and Hirano town, Kyoto.'
Japanese: 『雍州府志（ようしゅうふし）（擁州とは山城国の別称で山城の地理案内書）』貞享元年（1648年）刊に、京の唐紙師について「いまところとどころこれを製す。しかれども東洞院二条南の岩佐氏の製するは、襖障子を張るのにもっともよし、もっぱらこれを用いる」とあり、『新撰紙鑑（かみかがみ）』には、「京東洞院、平野町あたりに唐紙細工人多し」とある。
English: In the "Edo-soganoko" (A complete book for noted places in Edo) published in 1689, there are 13 names of kami-shi.
Japanese: 元禄2年（1689年）刊の『江戸惣鹿子』には、十三人の唐紙師の名がある。
English: In the "Shonin kaimono annai" (A guidebook for merchants' shopping) published in 1824, there are 8 names of karakami shops.
Japanese: 文政7年（1824年）の『商人買物案内』には、唐紙屋として八軒の名が挙がっている。
English: In the "Senda-ke bunsho" (Documents of the Senda family, who succeeded the linage of 'Choemon KARAKAMIYA or Karacho,' the existing kyo kami-shi), there is a description of 13 kami-shi in 1839.
Japanese: 現在も続いている京唐紙師の「唐紙屋長右衛門（唐長）」の家系を継ぐ『千田家文書』に、天保10年（1839年）に唐紙師が十三軒あったと記されている。
English: Major karakami patterns were a geometrical pattern (geometric design) such as arabesque of 'karakami' and a tortoiseshell pattern in an early stage, and the technical decorative pattern of paintings such as the Korin School from recent times.
Japanese: からかみの紋様は、当初「唐紙」の唐草や亀甲紋様などの幾何学紋様が主流で、近世にはいって光琳派などの絵画の技巧的な装飾文様が多用されるようになった。
English: The printing blocks of many trade of karakami paper makers were burned at the time of Conspiracy of Hamaguri-gomon Gate in 1864.
Japanese: 京の唐紙屋仲間の多くは、元治元年（1864年）の蛤御門の変で多くの版木を焼失してしまった。
English: At the time of the Conspiracy of Hamaguri-gomon Gate, Choemon KARAKAMIYA protected printing blocks against the fires of war, by filling a washtub with water and putting them in a sealed up earthen storehouse.
Japanese: 唐紙屋長右衛門は、蛤御門の変の時、タライに水を張り、目張りした土蔵に版木を入れて、戦乱の火災から唐紙の版木を守り抜いた。
English: Only five karakami paper makers including Choemon KARAKAMIYA remained during the Meiji period and later, and their printing blocks escaped the fires.
Japanese: 蛤御門の変で版木の焼失を免れて、明治以後に残った唐紙屋は、唐紙屋長右衛門を含めてわずかに5軒であった。
English: However, most of them gave up their business being overpowered by the mass production system for karakami in Tokyo, and as a result, it is only Choemon KARAKAMIYA, that is, Chojiro SENDA of 'Karacho' who has continuously maintained the tradition of Kyo karakami even now.
Japanese: しかし、その殆どは東京の量産体制の唐紙に押されて、大正時代に廃業し、現在も京唐紙の伝統を守り継いでいるのは唐紙屋長右衛門、すなわち「唐長」の千田長次郎氏のみである。
English: These include a plate for twelve units which means that the pasting of twelve homogeneous units forms a sheet of fusuma as well as a plate for ten units and a plate for five units.
Japanese: これらは、12枚で一面の襖になる十二板張り判と十板張り判そして五枚張り判とがある。
English: Most of the plates for twelve units were made during the Edo period, which was about 0.29 m high and about 0.47 m wide.
Japanese: 十二枚張り判はほとんどが江戸時代のもので、版木の大きさは約縦九寸五分、横一尺五寸五分である。
English: On the oldest printing block, that was re-carved after being destroyed in the great fire in 1788, there is a description of 'June, 1792. Choemon KARAKAMIYA, carved by Heihachi' written in sumi.
Japanese: 天明8年（1788年）の大火で版木を全て焼失し、再刻されたもので、最も古いものは「寛政四年六月唐紙屋（からかみや）長右衛門　彫師平八」と墨書されている。
English: A plate for ten units was made in the Meiji and Taisho periods, which was about 0.35 m high and about 0.47 m wide.
Japanese: 十枚張り判は明治・大正期のもので、縦一尺一寸五分、横一尺五寸五分である。
English: A plate for five units was made in the Taisho and Showa periods, which was about 0.93 m wide, making the width of a plate for ten units twice to fit the size of maniai-shi.
Japanese: 五枚張り判は、大正・昭和期のもので、十枚張り判の横幅を二倍にしたもので、横三尺一寸と間似合紙の寸法に合わせてある。
English: Most of the wooden materials for these printing blocks are a magnolia hypoleuca, although some of them are of cherry tree and a katsura tree wood.
Japanese: これらの版木の材質は、サクラやカツラのものもあるが、ほとんどはホオノキで作られている。
English: Splendid, colorful Kyo karakami have been printed from these many printing blocks and a karakami traditional industrial art in Japan has been produced.
Japanese: これらの多くの版木から、華麗で多彩な京唐紙が摺り出されて、日本の伝統工芸としての唐紙が作り続けられてきた。
English: An ancestor of the Senda family, a samurai who guarded the north side of the Imperial Court of retired emperors from the Settsu Province and first Choemon, became a karakami maker in his later years.
Japanese: 千田家の先祖は、もともと摂津国出身の北面の武士であったが、初代長右衛門はその晩年に唐紙屋を始めたと伝えられている。
English: Since Choemon I died on November in 1687, 'Karacho' already has a tradition of longer than 300 years.
Japanese: 初代長右衛門の没年は貞享4年（1687年）十一月となっているので、「唐長」の伝統は三百年をすでに越えている。
English: A kami-shi in Edo is also called 'jikarakami-shi' (a local master of karakami) (地唐紙師) regarding Kyoto as his home.
Japanese: 江戸の唐紙師を「地唐紙師」ともいうが、これは京を本場とする呼称であった。
English: The Edo karakami is also called 'kyoho-sengata' (one thousand types in the Kyoho era), named because it was mass-produced with various patterns during the Kyoho era (1716-36).
Japanese: その江戸から紙を「享保千型」ともいい、享保年間（1716～36）に多様な紋様が考案され、江戸から紙が量産されたからその名がある。
English: Facing the large consumer area of Edo, there was a huge demand for Edo karakami, and Hosokawa paper produced in the Hiki-gun and Chichibu, Musashi Province near Edo was used as a material paper for karakami.
Japanese: 江戸から紙は、江戸という大消費地を控えて需要が多く、から紙原紙は近くの武蔵国の秩父・比企郡で産する細川氏を用いた。
English: As opposed to this, kyo karakami had printed sophisticated patterns based upon traditional techniques and dynasty cultures by using high quality processed material papers such as Echizen hoshogami (heavy Japanese paper of the best quality in Echizen province) and torinoko paper, and had kept the tradition of kyo karakami alive with pride.
Japanese: これに対して、京から紙は越前奉書紙や鳥の子紙などの高級な加工原紙を用いて、伝統技法と王朝文化の流れを汲む洗練された紋様を摺って、京から紙の伝統を守りそれを誇りとしていた。
English: The spirit of Kyo kami-shi is shown in the written claim for examination by the 8th Choemon KARAKAMIYA for the 4th domestic industrial exposition in 1895 as follows.
Japanese: 京から紙師の意気を示すものとして、八代目の唐紙屋長右衛門が明治二十八年の第四回内国勧業博覧会に出品した時の審査請求書に下記のように説明されている。
English: The products in Tokyo and Osaka are...crudely made, and, moreover, the competition among members in the same trade tends to result in increasing overproduction.'
Japanese: 「東京、大阪地方ニ於ケル製品ハ、・・・・・粗製ノ上同業者競争ヲ起コシ益々濫造ニ流ルゝノ傾向ナリ。」
English: In contrast, for products in Kyoto, special materials including paper of high quality are selected...the properties of water in Kyoto is suitable for white ground mica karakami and similar kinds of paper, which results in the production of incomparable purely white and excellent ones.'
Japanese: 「之ニ反シテ京都製品ニ於テハ、紙質其他原料等ヲ撰ミ、・・・白地雲母唐紙ノ如キハ京都ノ水質ニ適シ、他ニ比類ナキ純白善良ナル品ヲ製ス。」
English: Therefore, karakami for pasting on the walls in rooms of high quality is exclusively ordered from Kyoto, although such a paper is not suitable for pasting on the walls in rooms of low quality.'
Japanese: 「故ニ下等室壁張ニハ適セザルモ、上等室壁張唐紙等ハ悉く京都ニ注文アリ。」
English: It can be said that it showed the spirit of kami-shi as traditional craftsmen in Kyoto who regarded tradition highly as opposed to the karakami makers in Tokyo and Osaka who tended to make crude kami-shi because of the necessity of mass production of current times.
Japanese: 時代の流れで量産の必要性から、やや粗製濫造の傾向にある東京・大阪の唐紙屋に対して、伝統を重んじる京都の伝統工芸的職人の唐紙師の意地が示されていると言える。
English: The summary of the technique of kyo karakami is as follows; apply dosa on a ground paper and dye it with pigment or colorant.
Japanese: 京唐紙の技法の概略は、地紙をまず紙に礬水（どうさ）を引き、顔料あるいは染料で染める。
English: Then, dissolve an ingredient or mica, add hime-nori (paste made by boiling rice until it get soft), and coat a pigment mixed with a glue plant, glue and synthetic resin appropriately, all over a printing block using a screen.
Japanese: そして具あるいは雲母を溶き、姫糊を加え、布海苔、膠（にかわ）、合成樹脂などを適宜に調合した顔料を、大きな篩（ふるい）い塗って、版木にまんべんなくつける。
English: Repeat two or three times again with the pigment using a sieve and print by rubbing with one's palm, and complete by printing massively and in a embossed manner.
Japanese: その紙を篩でまた顔料で塗り、手のひらで摺ること二度三度と繰り返して、量感のあるふっくらと摺り上げて仕上げる。
English: Using soft magnolia hypoleuca for the printing block, a sieve instead of brush to transfer the pigment, and one's palm instead of baren (a tool to transfer ink or pigments from a printing plate to paper by rubbing the back of the paper), the kyo karakami paper with characteristic warmth is made.
Japanese: 京から紙は、版木に柔らかいホオノキを用い、刷毛でなく篩で顔料を塗り、バレンでなく手のひらで摺り上げ、独特の暖かみのある京から紙が作られる。
English: In addition to that, there were other techniques such as the lacquer-used pattern-stamping technique, the foil-stamping of gold or silver foil and the technique of fine powder-shaking to draw patterns by a brush containing glue and shake gold and silver powders.
Japanese: この他にも漆型押し技法や金箔・銀箔の箔押しや糊を付けた筆で紋様を描いて金銀砂子（すなご）を振り掛ける砂子振り等の技法も用いられた。
English: The momigami is a method to create various crumpling patterns by the movement of skilled fingers as in the following process; apply the two different pigments on the upper and the lower layers and crumple them up, and as a result, the pigment on the upper layer flows off and fine lines appear in the pigment on the lower layer to producing characteristic patterns.
Japanese: 揉み紙の技法は、熟練した指の動きで各種の揉み紋様を表す技法で、上層と下層に違った顔料を塗って、揉み皺によって上層の顔料が剥落し下層の顔料が微妙な線となってあらわれ、独特の紋様を作る。
English: There are fifteen ways of crumpling such as; small crumpling, large crumpling, small chrysanthemum crumpling, lozenge-chrysanthemum crumpling and mountain-river crumpling.
Japanese: 揉み方には15種類があり、小揉み、大揉み、小菊揉み、菱菊揉み、山水揉みなどの名称がある。
English: There was en elaborate karakami made in the technique to combine this crumpling with various carved pattern pressing.
Japanese: この揉みの技法に各種の型押し技法を組み合わせた手の込んだ、から紙もあった。
English: The tradition of kyo karakami has maintained the warmth of handwork in traditional arts alive, going to any expense and not being concerned with mass-production.
Japanese: 京から紙の伝統は、手間暇を惜しまず、量産効果を望まず、ひたすらに伝統工芸の手作りの暖かみを保ち続けた。
English: The fusuma-shoji does not function to disperse light which is an important purpose for akari-shoji, but is only for the purpose of partitioning a room.
Japanese: 襖障子は、明かり障子のように採光性という重要な目的性という機能を持たず、たんに室内の間仕切りとしての役割しか持っていない。
English: However, different from the walls which make up the structure, it plays an important part in the role, characteristics and Shitsurai of the room.
Japanese: それでいて、構造的な壁面と違って、その部屋の役割や個性や室礼（しつらい）に重要な役割を果たしている。
English: The purpose to be accomplished and the atmosphere of the room is greatly influenced by the patterns drawn on fusuma-shoji.
Japanese: その部屋の果たすべき目的や雰囲気は、襖障子に描かれた紋様によって、大部分が決定されているとも言える。
English: The role of fusuma-shoji between a shoin as a formal drawing room and a living room for a family to relax in is different.
Japanese: 格式を重んじる応接間としての書院と、やすらぎを得る家族の居住する居間とは自ずからふすま障子の紋様の果たす役割が異なる。
English: In addition, the patterns of fusuma-shoji were different according to social position and taste.
Japanese: さらに、その家の主の社会的立場や好みによっても、襖障子の紋様は異なった。
English: The patterns of fusuma are roughly classified into the taste of the nobility, the taste of persons participating in tea ceremony, taste of persons related to temples and shrines, the taste of the samurai class and the taste of merchant families.
Japanese: 襖の紋様を大別すると、公家好み、茶方好み、寺社好み、武家好み、町や好みに分けられる。
English: The yusoku-monyo includes many geometrical patterns, in which the lozenges such as pine lozenge, sword lozenge and lozenge-shaped plum blossoms are predominant, and they are also used for the patterns of the samurai class and merchants' families.
Japanese: 有職紋様には幾何紋が多く、松菱、剣菱、菱梅などの菱形が目立ち、武家や町屋向けにも流用されている。