nntsuzu/KFTT huggingface dataset:
English: There is a custom of narizumoku ijime (teasing of narizumoku), in which a cut is made on the bark of narizumoku and rice porridge is smeared over the cut with a kayuzue.
Japanese: 生樹木（なりずもく）の樹皮を傷つけ、傷口に粥杖で粥を塗り、「なるかならぬか」ととなえる、なりずもくいじめのふうもある。
English: The scandal of Shunpoan is the large-scale criminal case of counterfeit hand-painted Ukiyo-e (Japanese woodblock prints), which occurred in the early Showa period around 1930s.
Japanese: 春峯庵事件（しゅんぽうあんじけん）は昭和初期に起こった肉筆浮世絵の大規模な偽造事件である。
English: In 1934, there was a public auction at Tokyo Art Club for inviting the bids for the hand-painted Ukiyo-e owned by a good old family called Shunpoan, whose art works were claimed to be produced by Sharaku TOSHUSAI or Utamaro KITAGAWA.
Japanese: 1934年東京美術倶楽部で、春峯庵なる旧家の所蔵品という触れ込みで東洲斎写楽、喜多川歌麿などの肉筆浮世絵の入札会が開かれた。
English: Because of the reports and articles published in newspapers stating those art pieces to be the 'discoveries of the century,' this auction drew quite a large attention from the public, although later it was found that those pieces were actually counterfeits.
Japanese: 「世紀の発見」という新聞報道もあり、注目を集めたが、やがて全てが贋作であることが発覚した。
English: Furthermore, there was an incident that Rinpu SASAGAWA, the authority on the study of Japanese art history, was detained by the police as the accomplice of the fraud because he had written the recommendation notes for those art pieces.
Japanese: また、美術史研究の権威だった笹川臨風が、作品の推薦文を書いたことで詐欺の共犯容疑として警察に勾留される騒ぎもあった。
English: Upon acquiring the woman from the Oni, he told Haseo not to make love with her for 100 days, but Haseo could not put up with his desire and broke the promise in 80 days.
Japanese: 100日間は彼女と性交をしないという鬼との約束を破り、80日ほどで性交した。
English: According to the 'Gakkaroku' (fifty books on gagaku written by Suehiro ABE in 1690), the Niwabi was performed as follows: a nincho (chief kagura dancer) would go to a point in front of the shoku (straw mat), dance in triple meter, kick the shoku with his right foot, and then stand to the side of the motokata (leaders who sat to the left of the garden fire during the performance of the Mikagura, a type of music performed in court Shinto ceremonies).
Japanese: 「楽家録」によれば、その作法は、まず人長が進んで軾の前に行って3拍子を踏んで右足で軾を蹴って本方に立つ。
English: To put it simply, in the manner of a nincho he has fue flute, hichiriki instrument and wagon koto players play Niwabi as an initial trial so as to permit them to sit.
Japanese: つまりはじめ人長作法において笛、篳篥、和琴および本末の歌人に庭燎を奏させて試み、着席を許す。
English: In fact, the process from the nincho's manner and Niwabi to yoriai is considered the prelude to torimono (symbolic offerings), and the torimono follows Achime no waza (Manners of Achime).
Japanese: つまり人長作法、庭燎、よりあい、という順番で、これをいわば序曲として、阿知女作法を経て、採物に入る。
English: The singers chant the poem of torimono, 'Mountains seem to be fog, because the vines of spindle trees over the hill colored' which is one of the kami asobi no uta (poems for singing and dancing in front of a deity) in Kokin Wakashu (A Collection of Ancient and Modern Japanese Poetry).
Japanese: 古今和歌集神遊の歌の中の採物の歌である「みやまには霧ふるらし外山なる真柝の葛色づきにけり」を歌う。
English: This poem was formerly called the 'morouta' (entire verse) of Niwabi because the entire part of the poem was chanted at one time; however, in recent times only the first part of the poem was chanted, whereas the last part was not chanted.
Japanese: かつてはこの全歌を歌ったから、それを庭燎の「諸歌」（もろうた）と称えたが、近代は上句のみを歌い、下句は歌わない。
English: It is assumed that, in the past, only the ceremony was conducted without singing or with netori (tuning of Japanese instruments) only, which was performed by musicians for the purpose of rehearsal.
Japanese: 古くは儀式だけで歌は無かったであろうといい、あるいは楽人の試奏に音取が奏されるていどであったろうという。
English: The reason of this notion comes from the idea of the way of tea defined by this school, insisting on the discipline of the mind and the emphasis on the daily life for reflecting the spirit of the way of tea; the founder of this school lamented the idea of SEN no Rikyu placing a great importance on the instruments used for tea ceremonies, thus it eliminated the formality of presenting and observing the tea instruments used for its temae.
Japanese: その由来は、千利休の道具を第一とする考え方を憂い、道具の拝見を一切排除し精神を鍛錬することに重きをおき、日常生活にこそ茶の精神が生かされなければ意味がないということからだと言われている。
English: Senmyo is a written document in which emperor's commands are recorded in a Japanese orthography only with Chinese characters, as compared with Shochoku (an imperial edict) written in classical Chinese.
Japanese: 宣命（せんみょう）とは、天皇の命令を漢字だけの日本語体で記した文書であり、漢文体の詔勅に対していう。
English: This literary style is called Senmyotai (a grand style written in an imperial-edict manner), its notation Senmyogaki, a messenger who reads Senmyo Senmyoshi (宣命使), and the paper on which Senmyo is drawn Senmyo-shi (宣命紙).
Japanese: この文体を宣命体（-たい）、その表記法を宣命書（-がき）、また宣命を読み上げる使者を宣命使（-し）、宣命を記す紙を宣命紙（-し）という。
English: Senmyotai is a literary style which became the origin of a composition written in kanji and kana (the Japanese syllabary), so it is a very important document for the history of development of kana.
Japanese: 宣命体は、漢字仮名交じり文の源泉となった文体で、かなの発達史上、大変重要な文書である。
English: It means imperial commands (orders) emperors issued, so originally they were proclaimed verbally and recorded in Senmyotai.
Japanese: 天皇が宣（の）りたまう大命（おおみこと、命令）の意で、本来は口頭で宣布され、それを宣命体で書記した。
English: In the Nara period they were used at the ceremonies such as Choga (New Year greetings or well-wishes offered by retainers to the Emperor), enthronement, changing the name of an era, investiture of the Empress, investiture of the Crown Prince, and after the Heian period, only used for imperial instructions such as appointment of ministers, conferral of posthumous ranks, shrines and the Imperial mausoleum, and so on.
Japanese: 奈良時代は朝賀・即位・改元・立后・立太子などの儀式に用いられ、平安時代以降は任大臣・贈位・神社・天皇陵などの告文にだけ用いられた。
English: The literary style such as Senmyo and Norito (Shinto prayers) is referred to as Senmyotai, and its orthography, Senmyogaki, is a way of writing in which parts of speech and stems of words are written in large characters, and postpositional particles, auxiliary verbs (Japanese grammar), ending of declinable words, and so on, in flush-right smaller characters of word-and-sound Manyogana (a form of syllabary used in the Manyoshu [Collection of Ten Thousand Leaves]).
Japanese: 宣命・祝詞などの文体を宣命体といい、その表記法である宣命書とは、品詞・品詞の語幹を大きな字で書き、助詞・助動詞(国文法)・用言の語尾などは、一字一音の万葉仮名で小さく右に寄せて書く方法である。
English: 乎' is regularly used for 'wo' (を), '乃' for 'no' (の), '波' for 'ha' (は), and so on.
Japanese: 「を」には「乎」、「の」には「乃」、「は」には「波」などを一定して使っている。
English: Senmyo Daishotai in which all words including postpositional particles, and so on, are written in large characters, and Senmyo Shoshotai in which postpositional particles, and so on, are differently written in smaller characters as described above.
Japanese: 助詞なども含めてすべて大字で書かれる宣命大書体と、上述のように助詞などを小字で書き分ける宣命小書体である。
English: Senmyogaki can be called 'a composition written in kanji and manyogana,' but if the manyogana is changed to hiragana, it becomes almost the same as 'a composition written in kanji and kana,' which is a remarkable thing in the history of development of the Japanese orthography.
Japanese: 宣命書は、「漢字万葉仮名交じり文」と言えるが、その万葉仮名を平仮名に変えると、「漢字仮名交じり文」とほぼ同じになり、これは日本語表記の展開史の上で注目すべき出来事であった。
English: Korean is a similar language to Japanese and it needs grammatical elements such as postpositional particles and auxiliary verbs, and so on, therefore, it sometimes happens to insert these Korean words to ancient Korean official documents written in Chinese classics.
Japanese: 朝鮮語は日本語とよく似た言語で、助詞や助動詞などの文法的要素を必要とするため、漢文で書かれていた古代朝鮮の公文書にこれらの朝鮮語を書き加えることがおこってくる。
English: This is called Rito, where in principle at the end of each segment of Chinese classics its elements were described in Chinese characters like okurigana (kana added to a Chinese character to show its pronunciation).
Japanese: これを吏読というが、原則として漢文の各分節の終わりにその要素を送りがなのように漢字で記した。
English: This method is the same as Japanese Senmyogaki, which caused a speculation that Rito was a model of Senmyotai.
Japanese: この方法は日本の宣命書と同じであり、ここに吏読が宣命体のモデルという推測が生まれた。
English: However, the development into Senmyo Shoshotai where kana is written in a small size is an achievement in our country.
Japanese: ただ、仮名を小さく書く宣命小書体に進展したのは、我が国における成果である。
English: Paper to describe Senmyo, for which omashi (yellowish paper made of hemp) was usually used, and hanadairo-colored (light blue) paper for Ise-jingu Shrine, and crimson paper for Kamo-jinja Shrine.
Japanese: 宣命を記す紙で、普通は黄麻紙（おうまし）を用い、伊勢神宮には縹色の紙、賀茂神社には紅色の紙を用いた。
English: Omashi refers to the paper mainly made of hemp and dyed with kihada (Amur cork) to prevent insect pests, which leads to the name of the paper.
Japanese: 黄麻紙とは、アサを主体に造った紙で、害虫を防ぐために黄檗で染めたため、その色からこの名がある。
English: As hemp had been believed to be clean since ancient times, it was often used for copying sutras in the Nara period.
Japanese: 古来より麻は清浄なものとされていたので、奈良時代の写経にも多く使用された。
English: In "Shoku Nihongi" (Chronicle of Japan Continued) 62 pieces of Senmyo including the time of enthronement of Emperor Monmu in 697 are recorded.
Japanese: 『続日本紀』には、697年、文武天皇の即位時のものをはじめとする宣命が62編、収録されている。
English: A copy of Empress Koken's Senmyo of April 22, 757, is included in Shoso-in Monjo (documents of Shoso-in Treasure Repository) Shoshu volume 44.
Japanese: 天平勝宝9年（757年）3月25日の孝謙天皇宣命の転写が正倉院文書・正集第44巻に収めされている。
English: This method is thought to have been created to prevent the dishevelment of hairdos such as tabo (the back part of the Japanese hairstyle protruding backward) as well as stains on or damage to the collar.
Japanese: 日本髪の髱、結髪をくずさない、襟の汚損を防ぐために生じた着方と見られる。
English: After katayama (the top of the shoulder) is slid backward, the collar at the back of the neck is bent into a U- or V-shape to fit the tabo and is then pulled lower in alignment with the tabo.
Japanese: 身頃の肩山を後ろにずらして襟肩回りを髱の形や位置にあわせてU字型、あるいはV字型に後ろに引いて着る。
English: Unless the kurikoshi (the length from the top of the shoulder to the bottom of the collar at the back) is adjusted when a kimono is sewn, the collar cannot be fully pulled.
Japanese: 仕立てのときに繰り越しを加減しないと十分に衣紋を抜くことができない。
English: Kurikoshi ranges in size from about 1 cm to about 5 cm, and whether or not to wear a kimono beautifully depends on the manner in which the collar is pulled.
Japanese: 繰り越しはだいたい1cmから5cmくらいまでであるが、着付けの良し悪しに衣紋の抜きかたは重要である
English: Volume 93 of 'Matsunoya Hikki' (an essay dating from the Edo period) said, 'In many cases, the collar is pulled in the wrong way.'
Japanese: 「松屋筆記」93によれば、「追衣紋（のけえもん）多くは誤てぬきえもんと云へり」という。
English: The ogre of Suzaku-mon Gate is said to have lived in the Suzaku-mon Gate of Heian-kyo (the ancient capital in what is now Kyoto).
Japanese: 朱雀門の鬼（すざくもんのおに）は、平安京の朱雀門に棲んでいたといわれる鬼。
English: It was the most fearsome ogre in the ancient capital, where many ogres are believed to have appeared, but it's said to have been talented in the arts such as playing the flute.
Japanese: 多くの鬼が現れたといわれる古代平安の都でも最も恐れられたが、一方では笛をたしなむなどの芸才もあったといわれる。
English: The mystery story called "Haseo-zoshi," about KI no Haseo, a literary man in the early Heian period, contains an anecdote about Haseo and the ogre of Suzaku-mon Gate, which begins like this:
Japanese: 平安時代初期の文人・紀長谷雄にまつわる怪奇譚『長谷雄草紙』に、朱雀門の鬼と長谷雄にまつわる逸話が以下のように記述されている。
English: One day, a strange man came to Haseo, who was a good player of sugoroku (Japanese backgammon) and challenged Haseo to a game.
Japanese: すごろくの名手でもある長谷雄のもとに、あるときに妙な男が現れて双六の勝負を申し込んだ。
English: The man climbed the gate easily without any foothold, and went up to the tower with Haseo lifted on his shoulder because Haseo could not climb.
Japanese: 男は何の手がかりもなく門をするすると昇り、昇れずにいた長谷雄を担ぎ上げて楼場に昇った。
English: The ogre, having lost the game, later visited Haseo together with a beautiful woman, and before leaving her with Haseo he told him not to touch her for 100 days.
Japanese: 勝負に敗れた鬼は後日、美しい女性を連れて長谷雄のもとを訪れ、百日間この女に触れてはならないと言い残し、女を置いて去って行った。
English: Although Haseo followed the ogre's word at first, he lost patience at around 80 days and made love to the woman.
Japanese: 長谷雄は最初は言いつけを守っていたものの、80日が過ぎる頃には我慢できなくなり、ついにその女を抱いた。
English: The woman was made up of good parts of numerous dead bodies that had been collected by the ogre, and was supposed to become a real human being in 100 days.
Japanese: その女は、鬼が数々の人間の死体から良いところばかりを集めて作り上げたものであり、百日経てば本当の人間になるはずだった。
English: Three months after the incident, the ogre approached the ox-drawn carriage in which Haseo was riding and attacked him for his unfaithfulness.
Japanese: さらにその3か月後、長谷雄の乗る牛車のもとにあの鬼が現れ、長谷雄の不誠実を責めて襲い掛かった。
English: When Haseo prayed to the gods for help with his whole heart, a voice saying 'Get out of here!' was heard from the heavens and then the ogre disappeared.
Japanese: 長谷雄が天の助けを一心に念じると、天から「そこを去れ」との声があり、鬼は消えるように去って行ったという。
English: The Narashiba Katatsuki is a tea canister which was called one of the three major Katatsuki, along with Nitta Katatsuki and Hatsuhana Katatsuki.
Japanese: 楢柴肩衝とは、新田肩衝・初花肩衝と共に天下三肩衝と呼ばれた茶器の1つ。
English: The name of this tea canister is said to be derived from the play on word with 'koi' meaning both 'deep' and 'love,' (double entente/pun) while the color of the glaze of this tea canister is in a unique 'koi' amber (meaning deep amber); a tanka (thirty-one syllables' poem) from Manyoshu (Collection of Ten Thousand Leaves) includes the word 'koi' in its phrase, 'Mikarisuru Karihano Onono Narashiba no Nareha masarade Koi zo masareru,' then the word 'Narashiba' was taken from this tanka for the name of this tea canister.
Japanese: 釉色が濃いアメ色で、これを「恋」にかけて万葉集の「御狩する狩場の小野の楢柴の汝はまさらで恋ぞまされる」の歌に因みこの名になったとされる。
English: Originally this tea canister was owned by the eighth shogun of the Muromachi Shogunate, Yoshimasa ASHIKAGA, but it was passed through many hands after his death, and later handed over to a tea master Soshitsu SHIMAI living in Hakata, Kyushu, by a merchant in Sakai, Osaka.
Japanese: もともとは足利義政の所有物であったが、彼の死後は持ち主を転々とし、堺の商人を通じて、博多の島井宗室へ渡った。
English: Nobunaga ODA also wanted to acquire this famous piece and gave Soshitsu the order to bring it to Kyoto, although Nobunaga died in the Honnoji Incident before acquiring it.
Japanese: 織田信長も、この名物を欲しがり、上洛するように宗室へ命じたが、本能寺の変で死亡。
English: After this incident, Sorin OTOMO repeatedly requested Soshitsu to hand over the tea canister at any cost, although Soshitsu kept refusing the requests.
Japanese: その後は、大友宗麟から大金を出すので譲って欲しいと再三要請があったが、宗室はこれを断り続けた。
English: The power of OTOMO family later declined; in the meantime Tanezane AKIZUKI gradually gained power in the Chikuzen Province (where Hakata is located), and Soshitsu decided to hand over this tea canister when Tanezane requested the piece.
Japanese: のち、大友氏の衰退と逆に博多のある筑前国で勢力を伸ばしてきた秋月種実が、この名物を欲した為、譲る事となった。
English: Although Tanezane sent 100 bales of soybeans to Soshitsu, the price of the Narashiba was said to be about 3,000 Kan, which is about several million Yen in today's value.
Japanese: この際、秋月氏から大豆百俵が送られているが、楢柴の価値は約3000貫、現在の価値でいえば数億円以上ともされている。
English: Therefore it is obvious that Soshitsu and other merchants of Hakata were half-threatened and deprived of the tea canister by the armed force of Tanezane.
Japanese: 宗室ら博多商人が武力行使をちらつかせられ、半ば脅迫に近い形で奪われたのは歴然としている。
English: However, the period of Tanezane owning this famous piece was not very long; it was presented to Hideyoshi TOYOTOMI as the proofing gift of surrender from Tanezane who was a vassal of Shimazu clan, when Hideyoshi conquered Kyushu region.
Japanese: しかし、種実が手にしていた期間も長くは無く、九州征伐の際、島津氏に属していた秋月氏から、降伏の証として、豊臣秀吉へと献上された。
English: It is said that, at the deathbed of Hideyoshi, the piece was handed over to Ieyasu TOKUGAWA and became the property of Tokugawa Shogunate family, but disappeared or destroyed by the Great Fire in Meireki in 1657.
Japanese: 後に秀吉臨終の際に、徳川家康に授けられ徳川将軍家の所有となったが、明暦3年（1657年）の明暦の大火で消失してしまったという。
English: The Yamato Sarugaku is one of the groups performing Sarugaku (a traditional form of a Japanese theatre) mostly in Yamato Province (today's Nara Prefecture).
Japanese: 大和猿楽（やまとさるがく）とは、大和国（現在の奈良県）を中心として活躍した猿楽の座。
English: From the old days, the Yamato Sarugaku group had served for the Shinto rituals of Kofuku-ji Temple or Kasuga-taisha Shrine, and there were four major groups well known in Japan, including the Tobi Group, the Sakato Group, the Enmani Group and the Yuzaki Group, which were called the Yamato Shiza (the four groups of Yamato Sarugaku).
Japanese: 古くから興福寺や春日大社などの神事に奉仕することを職務とし、外山（とび）座、坂戸座、円満井（えんまんい）座、結崎（ゆうざき）座の4座が特に知られて、大和四座と称された。
English: In Muromachi period, Kannami and Zeami (father and his son), the Sarugaku performers of Yuzaki Group, were highly regarded by the Muromachi Shogunate family, and they developed the Sarugaku into the form of Noh (Sarugaku Noh) under the patronage of Muromachi Shogunate family.
Japanese: 室町時代に入って結崎座の観阿弥・世阿弥父子が将軍家に重んじられて猿楽を能（猿楽能）として発展させている。
English: The Tobi Group later became the Hosho Group, the Sakato Group became the Kongo Group, and the Enmani Group became the Konparu Group, and the Yuzaki Group became the Kanze Group.
Japanese: 外山座は室生座、坂戸座は金剛座、円満井座は金春座、結崎座は観世座となった。
English: Although the origin of Kone in Japan is unknown, it is believed to date at least as far back as the Nara period because it is written in "Shoku-Nihongi," which is the sequel to "Nihon Shoki" (Chronicles of Japan) that 'the Emperor wearing Benfuku for the first time showed up in the Daigokuden (Grand Palace) to receive New Year's greetings at about 10 o'clock on January 1, 732 A.D.'
Japanese: 日本における袞衣の起源は不明であるが、『続日本紀』に「天平四年（732年）正月乙巳朔、大極殿に御して朝を受く。天皇始めて冕服を服す」とあることから、少なくとも奈良時代まで遡ると考えられている。
English: Eight kinds of patterns--Sun, Moon, Seven Stars, Mountain, Fire, Dragon, Kachu (pheasant), and Soi (ritual article)--out of Konben 12-Sho (symbols) are attached to the red cloth of the costume.
Japanese: 赤地に、袞冕十二章のうち、日、月、七星、山、火、龍、華虫（キジ）、宗彝の8種の模様が付く。
English: Four kinds of patterns--Mo (algae), Funmai (powdered rice), Ono (ax) and Futsu (shape like 亜)--out of Konben 12-Sho are attached to the same red cloth as Osode.
Japanese: 大袖と同じ赤地に、袞冕十二章のうち、藻、粉米、斧、黻（ふつ、亜字の形）の四種の模様が付く。
English: Ishikiate is a square piece of thick cloth for the reinforcement of an unlined garment; it prevents the seams from coming apart and is applied from the back (inside) to the part that presses against the wearer's hip.
Japanese: 居敷当（いしきあて）は、単衣仕立ての衣の尻が当たるあたりに、背縫い目が開かないように補強のために裏（中）から当てる四角い厚地の布片である。
English: If the roll of cloth is sufficiently long, the same cloth is used for Ishikiate; otherwise, different cloth is used.
Japanese: 反物の長さが十分にある場合は共布でとるが、用布不足の場合は別布を当てる。
English: The use of Ishikiate for unlined silk garments is avoided as much as possible, nor is it applied to transparent cloth such as silk, cotton or hemp.
Japanese: 絹布の単衣には体裁上なるべく省き、絹布、木綿、麻などの透き織に当てることは無い。
English: Instead, when the back of the garment is sewn up, a 3 cm-wide shred called Sefuse, being cut from the same cloth or different cloth of a similar color, is sewn together with it in such a way as to give a 5 mm-wide seam allowance, which is used to wrap around the seam allowances of the back parts and be sewn seamlessly to the seam allowance of the left back part of the garment.
Japanese: その代わりに背伏せという幅3cmくらいの共布、あるいは類似色の別布を用意し、背を縫う時、縫い代5mmほどでいっしょに縫い、背縫い代をくるんで左身頃の背縫い代に絎け付ける。
English: You can learn the technique of sewing seamlessly by applying a needle to the front surface, but it may damage the quality of the surface.
Japanese: 表に針を出して絎け付ける法もないではないが、表の地質を損なう原因となる。
English: The Ogawa school is one of the schools of Senchado (the way of brewed green tea) established by Kashin OGAWA (Koraku OGAWA the first) in the last years of Edo period.
Japanese: 小川流（おがわりゅう）とは、江戸時代末期に小川可進（初代小川後楽）が開いた煎茶道の流派である。
English: Kashin OGAWA established the Ogawa school for re-developing the Senchado against the trend of flaunting tea instruments, antique pieces, or painting and calligraphic works for the tea ceremony, while he tried to learn the characteristics of tea leaves and pursue the logical methodology of brewing sencha tea.
Japanese: 当時、茶器や書画骨董を誇示する傾向に堕しかかっていた煎茶道の世界に対し、小川可進は茶葉の性質を知り、その味を引き出すための合理的な手順を追求した煎法を定め、小川流を開いた。
English: The temae (procedure for making tea) for sencha established by Kashin was favored by the court nobles and the literary circles of Kyoto City in the last days of Tokugawa Shogunate, including Tadahiro KONOE or Tadaka ICHIJO.
Japanese: 可進の定めた煎茶手前は、幕末において、近衛忠煕や一条忠香らをはじめとする京都市の公家や文人らに愛好された。
English: After the end of World War II, today's head of the school, Koraku OGAWA the sixth defined the temae in Ryurei method by using chairs and tables for not sitting directly on a tatami mat.
Japanese: 第二次世界大戦後、現家元、小川後楽(6代目)は、畳に座らず椅子と机を用いる立礼での手前を定めた。
English: "Gyuro-Shukujo" (The Cowherd and the Weaving Girl) is a myth and legend of the People's Republic of China and is believed to be one of the country's folk tales.
Japanese: 『牛郎織女』（ぎゅうろうしょくじょ）は、中華人民共和国の神話伝説であり、中国の民話の一つとされている。
English: "Fuzokutsu" (Stories on Manners), written by Osho of Donhan, is believed to be the oldest book that contains the legend of Gyuro-Shukujo.
Japanese: 東漢の応劭著『風俗通』が牛郎織女伝説を記した最も古い書籍とされている。
English: It's described in detail in "Getsuryo-Kogi・Shichigatsu-ryo,"written by Okyo HYO of Ming, as follows:
Japanese: 明の馮応京著『月令広義・七月令』には更に詳しく記されており、それは次のとおりである。
English: Vega, a weaving girl who was a daughter of the Lord of Hosts and lived on the east bank of the river, was allowed to marry Hikoboshi (cowherd, Altair) on the west bank but was forced to return to the east bank because her discontinuation of weaving after the marriage angered the Lord of Hosts, who then allowed her to meet him only once a year.
Japanese: 河東に住む天帝の娘であるおりひめ（織姫）が河西のひこぼし（牛飼い、彦星）に嫁ぐことを許したが、嫁いだ後に機織りをやめたことで天帝の怒りを買い、河東に戻ることを強要、1年に1度だけ会うことを許した。
English: Kyoto Shoin was at one time a publishing company in Kyoto that published large numbers of art books.
Japanese: 京都書院（きょうとしょいん）は、かつて美術書を多く出版した京都の出版社である。
English: The art books, which made use of refined color printing, met the needs of the readers and became the rage of the times, but the company went bankrupt in June 1999.
Japanese: 洗練されたカラー印刷を生かした美術書が読者のニーズをつかみ一世を風靡したが、1999年6月に倒産した。
English: A monthly magazine called "Bi-to-Kogei" (Beauty and Art), unique sumptuous books, and pocket-size art collections earned popularity.
Japanese: 月刊誌『美と工芸』やユニークな豪華本、文庫サイズのアーツコレクションは好評だった。
English: The sumptuous books, which were its leading products, were sold to as many as 50,000 customers, and the company was aggressively advancing overseas.
Japanese: 主力の豪華本は五万件にも及ぶ顧客に販売、海外にも積極的に進出していた。
English: Currently, these books are distributed to bookstores throughout the country by Miyaobi Publishing Company, also of Kyoto, as the sales agency.
Japanese: 現在、同じ京都市の宮帯出版社が発売元となって全国の書店に流通させている。
English: Kyogoku Toho is a Toho-affiliated movie theater that was located in Shinkyogoku Shijo, Nakagyo Ward, Kyoto City, Kyoto Prefecture.
Japanese: 京極東宝（きょうごくとうほう）は、かつて京都府京都市中京区新京極四条に所在していた東宝系の映画館である。
English: 1916: The 'Sanyu Club' re-opened under the name the 'Sanyu Theater' in 1916, having burnt down in 1916 (it later closed down in 1945).
Japanese: 1915年火事により焼失するが、1916年「三友劇場」として再開場（1945年閉館）。
English: December 19, 1954: 'Kyogoku Toho Theater' opened as a first-run theater for foreign films.
Japanese: 1954年12月19日：洋画ロードショー劇場として「京極東宝劇場」オープン。
English: July 1973: It re-opened after a complete renovation (with a seating capacity of 418 at that time).
Japanese: 1973年7月：ビル全面改築を行い再オープン（当時の座席数は418席）。
English: January 28 and 29, 2006: The last show, titled 'Machi (Kawaramachi) no hi yo, arigato (Thank you, and Goodbye to Our City Lights),' was performed at Kyogoku Toho together with Kyoto Takarazuka Theater before they closed.
Japanese: 2006年1月28日～1月29日：「街（かわらまち）の灯よ、ありがとう」と題したラストショーを京都宝塚会館と共に開催し閉館。
English: Also, 'Kochi Toho 1, 2, and 3,' another Toho-affiliated movie theater in Kochi City, closed on the same day.
Japanese: また、高知市にあった同じ東宝系の映画館「高知東宝1・2・3」も同じ日に閉館している。
English: December 11, 2008: 'Super Hotel Kyoto Shijokawaramachi,' a business hotel, opened on the Kyogoku Toho site.
Japanese: 2008年12月11日：京極東宝跡地にホテルビジネスホテル「スーパーホテル京都・四条河原町」がオープンした。
English: Each theater was compatible with Dolby Digital and Digital Theater Systems in the final phase of its operation.
Japanese: ※各館とも最末期はドルビーデジタルとデジタル・シアター・システムズに対応していた。
English: "Karakuri-Doji ULTIMO" is the title of a Japanese manga (comic) series written by Stan LEE and illustrated by Hiroyuki TAKEI.
Japanese: 『機巧童子ULTIMO』（カラクリどうじウルティモ）は、スタン・リー原作、武井宏之作画の日本の漫画作品。
English: Its prologue story titled "Karakuri-Doji ULTIMO Zero" was published as a one-shot story in "Jump Square Second" Volume 1 (a magazine published by Shueisha, Inc.).
Japanese: 『ジャンプスクエアセカンド』vol.1（集英社）において『機巧童子ULTIMO0』（カラクリどうじウルティモ：ゼロ）というタイトルで序章が読み切りとして掲載された。