nntsuzu/KFTT huggingface dataset:
English: "Genji Monogatari Emaki" (Illustrated scrolls of the Tale of Genji) is an emakimono that represents the Heian period, and it was said to be painted by FUJIWARA no Takayoshi around the first half of the 12th century; 20 frames of the emakimono still exist.
Japanese: 『源氏物語絵巻』は、12世紀前半ころの藤原隆能の筆と伝えられる平安時代の代表的絵巻で、20図が現存している。
English: The portrayal through a view from the upper right is common, and methods of 'Fukinuke yatai' (a compositional technique used to depict a residential interior, which involves rendering a building without a roof and ceiling so that the viewer looks inside from above) and 'hikime-kagihana' (drawn-line eyes and a hook-shaped nose) are used.
Japanese: 斜め上方から見下ろした俯瞰描写が多くみられ、「吹抜屋台」「引目鉤鼻」の手法が用いられている。
English: This is the great story emakimono which described the feelings of characters and emotions as illustrations are going beyond the role as an illustration.
Japanese: 物語の挿絵にとどまらず、人物の心意や場面の情趣をも描いた物語絵巻の傑作である。
English: "Nenchu-gyoji Emaki" (illustrated scroll of annual events) was said to be the emakimono that Cloistered Emperor Goshirakawa had Mitsunaga TOKIWA paint together with "Ban Dainagon Emaki" (illustrated scroll of the story of a courtier Ban Dainagon); it is a typical Gyoji Emaki (illustrated scroll of events), and FUJIWARA no Motofusa was involved in creating it.
Japanese: 『年中行事絵巻』は後白河法皇が『伴大納言絵巻』とともに常磐光長に描かせたと伝わる絵巻物で、藤原基房らも製作にたずさわった行事絵の典型である。
English: It is said that "Nenchu-gyoji Emaki" started to be created during the Hogen era (1156-1158) led by Shinzei Nyudo (FUJIWARA no Michinori) under the mood of Dai-dairi (place of the Imperial Palace and government offices) revival and chogi (ceremony at Imperial Court) restoration.
Japanese: 信西入道（藤原通憲）が主導した保元年間の大内裏復興、朝儀再興の気運の下に製作が開始されたともいわれている。
English: In addition to the annual events held at the Imperial Court, it vividly features the common people at that time in stone-throwing fight held around the field of Kamo-gawa River (Yodo-gawa River system), in cockfighting held in the open space, in Inari Festival, or in Imamiya Festival.
Japanese: 朝廷の年中行事のほか、鴨川(淀川水系)の川原で繰り広げられる飛礫合戦、広場での闘鶏、稲荷祭や今宮祭など当時の庶民の姿も活写している。
English: In "Ban Dainagon Emaki" which was completed by Mitsunaga TOKIWA in the latter half of the 12th century under the order of the Cloistered Emperor Goshirakawa, the story of the fire of Oten-mon Gate was precisely described in the real-life touch.
Japanese: 後白河法皇が常磐光長に命じて12世紀後半に完成させた『伴大納言絵巻』は、応天門炎上をめぐる説話を的確な風俗表現で描いた絵巻である。
English: The name 'Ban Dainagon' refers to TOMO no Yoshio during the ninth century who was involved in the Otenmon Incident.
Japanese: 「伴大納言」とは応天門の変にかかわった9世紀の人物伴善男をさしている。
English: This emakimono was based on the real fire which occurred in Kyoto at that time, and Kyoto, the center of Insei, was described.
Japanese: この絵巻は、当時、都でおきた実際の火事に取材しており、院政の舞台となった京都の姿が描写されている。
English: "Shigisan engi emaki" (Ikoma-gun, Nara Prefecture, possessed by Chogosonshi-ji Temple) which is believed to be a creation from the latter half of the 12th century is the emakimono based on the story regarding the foundation of the temple.
Japanese: 12世紀後半の作と考えられる『信貴山縁起絵巻』（奈良県生駒郡、朝護孫子寺蔵）は寺院の創建にまつわる話を絵巻としたものである。
English: The story that Myoren threw a pot using 'the method of throwing a pot' to carry the rice storage of choja (chief abbot of the temple) to Mt. Shigi, which amazed people, is well known.
Japanese: 命蓮が「飛鉢の法」によって鉢をとばして長者の米倉を信貴山まで運び、人びとが驚いた逸話が特に知られている。
English: The life and customs of the common people are described with dynamic lines, and shows the characteristics of Yamato-e painting well.
Japanese: 動的な線描で庶民の生活や風俗が描かれ、大和絵の特色をよく示している。
English: "Nezame monogatari emaki" (Picture Scroll of the Tale of Nezame) that was painted in the 12th century and is possessed by Yamato Bunka-kan (Nara City, Nara prefecture) is a beautiful emakimono covered in silver foil which is said to be the story of tragic love, and it is designated as a national treasure.
Japanese: 12世紀に描かれた、大和文華館（奈良県奈良市）所蔵の『寝覚物語絵巻』は、悲恋の物語を描いたとされる銀箔の美しい絵巻であり、国宝に指定されている。
English: "Jigoku zoshi" (scrolls depicting Buddhist hell) (a book of Tokyo National Museum, a book of Nara National Museum, both are national treasures), "Gaki soshi," (Hungry Ghosts Scroll) (a book of Kyoto National Museum, a book of Tokyo National Museum, both are national treasures), "Yamai no soshi" (Diseases and Deformities) (a book of Kyoto National Museum, a national treasure) are emakimono that deal descriptions of the Hell, preta, and suffering from starvation or disease.
Japanese: 『地獄草紙』（東京国立博物館本、奈良国立博物館本、ともに国宝）、『餓鬼草紙』（京都国立博物館本、東博本、ともに国宝）、『病草紙』（京博本＝国宝ほか）は、それぞれ、末法思想にもとづいて、地獄の様相や餓鬼のあり様、飢えや病の苦しみを扱った絵巻物である。
English: According to Buddhism, human beings repeat their lives after death, in Rokudo (six posthumous worlds); heaven (Buddhism), Ningenkai (human world), Ashura, chikusho (Buddhist realm of beasts), or preta, hell.
Japanese: 仏教によれば、人は死ぬと現世の行いにより、天(仏教)、人間界、阿修羅、畜生、餓鬼、地獄の六道のいずれかを輪廻転生するという。
English: Gaki-do (the Realm of the Hungry Dead) was described in "Gaki soshi," and Jigoku-do (Hell Realm) was described in "Jigoku zoshi."
Japanese: 餓鬼道、地獄道がどのようなものかを描いた絵巻が、『餓鬼草紙』であり、『地獄草紙』であった。
English: These emakimono including "Yamai no soshi" were created in the latter half of the 12th century, and it is said to be created in the Imperial Court of Goshirakawa.
Japanese: 『病草紙』ふくめ、いずれも12世紀後半の作であり、やはり後白河の宮廷から生まれたものといわれている。
English: The 'Geshin Jigoku' (Hell of Dissections) of "Shamon Jigoku zoshi" (Stories of Hell for Buddhist Priests) possessed by MIHO MUSEUM (Koga City, Shiga Prefecture) describes endless hell; a monk who had killed and had eaten an animal went to the hell where the monk was killed and chopped and eaten by oni (ogre).
Japanese: MIHOMUSEUM（滋賀県甲賀市）蔵の『沙門地獄草紙』の「解身地獄」は動物を殺し、食した僧が墜ちる地獄で、僧が切り刻まれ、鬼に食われるという、延々と続く地獄を表している。
English: "Hekija-e" (Exorcist Scroll) possessed by Nara National Museum is the emakimono created in the latter half of the 12th century, and oni was suffering instead of a sinner in the emakimono.
Japanese: 奈良国立博物館所蔵の『辟邪絵』（へきじゃえ）は、罪人ではなく鬼が責め苦にあう絵巻物で12世紀後半の作である。
English: The gods including Shoki (plague-queller; the mythical person reputed to have the power of driving away the God of Plague), Gozu Tenno (deity said to be the Indian god Gavagriva), and Bishamonten punished the oni in the emakimono, and it had a connection with the belief of clearing out the devil in China.
Japanese: 鍾馗や牛頭天王、毘沙門天などの神々が鬼を懲らしめるもので、そこには中国における悪魔払いの信仰の影響がある。
English: The horrible description in this emakimono has been believed to be hell for a long time.
Japanese: かつては、その怖ろしい描写が地獄を描いた絵巻だと長い間考えられてきた。
English: Above all, "Ban Dainagon Emaki" and "Shigisan engi emaki" vividly describe the life of the common people in local villages as well as the common people in Kyoto, and the mood of the period is seen through them.
Japanese: これらのなかで、とくに『伴大納言絵巻』と『信貴山縁起絵巻』の両絵巻は都の庶民のみならず地方農村の庶民生活をいきいきと描いており、時代の空気がよく示されている。
English: "Kokawadera engi emaki" (a picture scroll of legends of Kokawa-dera Temple) in the 12th century also describes the common people in local society.
Japanese: 12世紀の『粉河寺縁起絵巻』もまた、地方社会に生きる人びとが描かれた絵巻である。
English: These emakimono originated in the Insei period, and the emakimono is the first Japanese arts in which the life of people was described, therefore, it is revolutionary from this point of view.
Japanese: 日本の美術作品で民衆の暮らしぶりが描かれるのは、院政期に始まったこれら絵巻物が最初であり、その意味でも画期的である。
English: All scrolls are the hakubyoga (white monochrome drawing) without Kotobagaki, and in its volumes one and two, animals such as frogs, rabbits, monkeys, and foxes are personified and described; these are the unique emakimono that squibbed the social situations of Mappo with a light touch.
Japanese: 全編、詞書のない白描画であり、うち甲巻と乙巻は、かえる、うさぎ、さる、きつねなどの動物を擬人化して描き、軽妙な筆致で末法の世相を風刺した異色の絵巻物である。
English: It has been reported to be painted by Toba Sojo Kakuyu, but it is believed to be created during the period from the middle of the 12th century to the early 13th century by several persons because of a difference in style.
Japanese: 鳥羽僧正覚猷の筆と伝えられてきたが、作風の相違から複数の人物により12世紀中葉から13世紀前葉にかけて作成されたとみられる。
English: These emakimono also show the life or customs of the common people at that time through games, Shinto rituals, rites and festivals, and in Buddhist mass.
Japanese: この絵巻からも、遊戯や神事、祭礼や法会など、当時の庶民の生活ぶりや風俗がうかがえる。
English: Ashide-e (a picture in which decorative, cursive style of Japanese calligraphy, the characters of which resemble natural objects, is used) is a decorative painting pattern with characters and pictures combined, and it became popular in the latter half of the Heian period.
Japanese: 平安後期に流行した文字と絵を組み合わせた装飾的絵模様の一種に芦手絵（あしでえ）がある。
English: All two scrolls of "Ashide-e Wakan Roeishu Sho" of shihon bokusho (ink on paper) (possessed by Kyoto National Museum) were copied from "Wakan Roei Shu", (Collection of Sung Japanese and Chinese poems) on ryoshi (paper for writing) on which Ashide-e was painted.
Japanese: 紙本墨書の『芦手絵和漢朗詠集抄』全2巻（京都国立博物館所蔵）は、芦手絵を描いた料紙に『和漢朗詠集』を書写したものである。
English: It can be recognized as the one copied by Koreyuki SESONJI in 1160, given that the note; 'May 16, 1160, Yuhitsu (amanuensis) 黷之 Koreyuki, 司農少卿伊行' was written at the end of the second scroll.
Japanese: 下巻の奥に「永暦元年四月二日、右筆黷之、司農少卿伊行」とあるところから、永暦元年（1160年）に世尊寺伊行によって書写されたことがわかる。
English: Using colors such as navy blue, green blue, taisha-color (tawny), silver, ashide-e including reed, water bird, Asuka, rocks, and katawaguruma (Japanese ghost distinguished by moving from place to place on an oxcart with only one wheel) were described as a sketch on ryoshi.
Japanese: 料紙下絵には、群青、緑青、代赭、銀泥などの絵の具を用いて、葦、水鳥、飛鳥、岩、片輪車などの芦手絵が描かれている。
English: During the Insei period, under the influence of spreading Jodo sect and thought of Mappo, people wished gokuraku ojo, and they competed to create the best soshokukyo.
Japanese: 院政期には、浄土教の広がりや末法思想の影響によって人びとは極楽往生を願い、善美を尽くした装飾経が競って作成された。
English: The decorative sutras that represent this period include "Konshi Kingindei Issaikyo" wished and created by FUJIWARA no Kiyohira in 1126 and "Heike-nokyo" dedicated to Itsukushima-jinja Shrine by the Taira clan.
Japanese: この時代の代表作として、大治(日本)元年（1126年）に藤原清衡が発願して作成した『紺紙金銀泥一切経』や平氏一門が厳島神社に奉納した『平家納経』がある。
English: The 'Senmen Koshakyo' (Ancient Sutra Manuscripts on a fan) (Senmen Hokkekyo Sasshi [Lotus Sutra Booklet on a Fan]) is one of decorative sutras that became popular in the end of the 12th century, and Hoke-kyo Sutra (the Lotus Sutra) was copied on the fan-shaped paper (fan-shaped ryoshi) on which nature or customs were described.
Japanese: 「扇面古写経」（扇面法華経冊子）は、12世紀末葉に流行した装飾経のひとつで、自然や風俗をえがいた扇形の紙面（扇面型料紙）に法華経を写したものである。
English: The lives of the common people in Kyoto are vividly described through the method of Yamato-e painting in its sketch.
Japanese: その下絵には京都における民衆の生活が大和絵の手法によって生き生きと描き出されている。
English: "Heike-nokyo" was dedicated to Itsukushima-jinja Shrine in Aki Province by TAIRA no Kiyomori and TAIRA no Shigemori in 1164, wishing the Taira clan for their prosperity, and it consisted of 33 scrolls of decorative sutras.
Japanese: 『平家納経』は、長寛2年（1164年）、平清盛・平重盛らが平氏一族の繁栄を願って安芸の厳島神社に奉納した33巻の装飾経である。
English: The head of an axis with metal fittings with kingin sukashi-bori (openwork carving on gold or silver), the ryoshi in which gold or silver fine powders and kirihaku (decorative metal pattern on sculptures or paintings) are richly used, and the strings used in each scroll show the craft skills at that time.
Japanese: 各巻とも水晶に金銀透彫りの金具をほどこした軸首や金銀の砂子（すなご）・切箔（きりはく）などを多用した料紙、あるいはまた紐などに当時の工芸技術を伝えている。
English: Decorative pictures are painted on the covers colored in gold or silver, and on the end leaf of the scroll, using the method of Yamato-e painting.
Japanese: また、金銀で彩色された表紙や見返しには唐絵や大和絵の手法によって装飾画が描かれている。
English: The sutras consisted of thirty scrolls of Hoke-kyo Sutra, one scroll of Amida-kyo Sutra, one scroll of Hannya Shingyo (Heart Sutra), and one scroll of ganmon (Shinto or Buddhist prayer - read) in his own writing by TAIRA no Kiyomori as well as kyobako (a box in which Buddhist scriptures are kept) and karabitsu (six-legged Chinese-style chest).
Japanese: 経典の内訳は法華経30巻、阿弥陀経1巻、般若心経1巻、平清盛自筆の願文1巻であり、さらに経箱・唐櫃をともなう。
English: "Konshi Kingindei Issaikyo" (紺紙金銀字交書一切経) is a decorative sutras; sutra sentences are written alternately in kindei (gold paint) and gindei (silver paint) between silver lines on navy papers.
Japanese: 『紺紙金銀泥一切経（紺紙金銀字交書一切経）』は、紺紙に銀で罫線を引き、金泥と銀泥で一行ごとに交互に経文を書いた装飾経である。
English: This is one of the scriptures called 'Chusonji-kyo Sutras' that were copied at the wish of FUJIWARA no Kiyohira, and it was completed after eight years from the time when it was started in 1117.
Japanese: 藤原清衡の発願によって書写された「中尊寺経」と呼ばれる経巻のひとつで、永久(元号)5年（1117年）より8年かけて完成した。
English: The term 'Issaikyo' (complete Buddhist scriptures) means the entire Buddhist scriptures (Daizo-kyo Sutra [the Tripitaka]), and originally the number of scrolls of 'Issaikyo' amounted to around 5300.
Japanese: 「一切経」とは仏教における全経典（大蔵経）を意味しており、もとは5,300巻前後にもおよんだと考えられる。
English: Many Issaikyo moved to Mt. Koya during the Azuchi-Momoyama period, and only 15 scrolls have been handed down to Chuson-ji Temple, while 4,296 scrolls have been handed down to Kongobu-ji Temple in Mt. Koya until today.
Japanese: その多くは安土桃山時代に高野山に移り、現在では15巻のみが中尊寺に、4,296巻が高野山金剛峯寺にそれぞれ伝わっている。
English: As evidenced by the record; Buddhist statues and paintings; 193 statues of joroku-zo and half joroku-zo, 3150 statues of full-size statues, and more than 5470 Buddhist paintings had been created at the wish of the Cloistered Emperor Shirakawa when he passed away in 1129, many Buddhist paintings were created during the Insei period.
Japanese: 大治(日本)4年（1129年）に白河法皇が没したとき、院の発願で制作された仏像仏画の数は、丈六像・半丈六像合わせて193体、等身像3,150体、仏画5,470余におよんだとの記録があるように、院政期は仏教絵画も多数描かれた時代であった。
English: The features of the Buddhist paintings in the Insei period have a tendency of delicate description with rich colors, common use of various craft methods including saikin (cut gold leaf), and sprinkled precious metals; it is characterized by evident decorative painting touch that was often used.
Japanese: 院政期仏画の特色としては、描写が繊細で豊かな色彩をもつ傾向があり、截金（切金）はじめ様々な工芸手法を用いたり、貴金属を散りばめたものが多く、きわめて装飾的な表現で描かれたものが少なくないことが挙げられる。
English: Many of them reflect the stream of preceding Esoteric Buddhist paintings while many Amida Nyorai were painted as a reflection of prosperity of the Jodo sect.
Japanese: 前代の密教絵画を流れを引き継いだものも多いが、浄土教の隆盛を反映して阿弥陀如来を描いたものも多い。
English: Among Esoteric Buddhist paintings, "Shorenin National Treasure" in Shoren-in Temple in Higashiyama Ward, Kyoto City (color painting on silk, commonly called 'Ao Fudo' [Blue Fudo], a national treasure) is the oldest existing image based on 'Fudo Juku-kan, nineteen Characteristic Signs of Fudo Myoo,' and it was created during the 11th century.
Japanese: 密教絵画では、京都市東山区青蓮院の『青蓮院国宝』（絹本着色、通称「青不動」、国宝）があり、「不動十九観」に依拠する現存最古の画像であり、11世紀の製作である。
English: The 'Ki Fudo' (Yellow Fudo) of Manshu-in Temple in Kyoto which modeled on 'Ki Fudo' (Yellow Fudo) of Onjo-ji Temple which was famous as kantokuzu (image of spiritual reception) was created in the first half of the 12th century, and is designated as a national treasure.
Japanese: 感得画として名高い園城寺「黄不動」を模した京都曼殊院の「黄不動」は12世紀前半の作であり、国宝に指定されている。
English: "Image of Fudo Myoo Nidoji" (paper book Hakubyo plain sketch) that has been handed down to Ishiyama-dera Temple in Otsu City, Shiga Prefecture was a creation of the 12th century, and is designated as an important cultural property.
Japanese: 滋賀県大津市の石山寺に伝承する『不動明王二童子像』（紙本白描）は12世紀の作で重要文化財に指定されている。
English: "Image of Kujaku Myoo" (peacock king of those who hold knowledge) (a national treasure) possessed by Tokyo National Museum was created in the middle of the 12th century, and it was known for its gentle curves, graceful colors, refined cut-gold foil pattern.
Japanese: なだらかな曲線と優美な色彩、精緻な截金文様で知られる東京国立博物館所蔵の『孔雀明王像』（国宝）は12世紀中葉の作である。
English: In "Ryobu taikyo kantokuzu" (Paintings of the Spiritual Reception of the Two Great Sutras), a national treasure, possessed by Fujita Museum of Art in Osaka, the scene that the important Buddhist scriptures of Esoteric Buddhism; 'Dainichi-kyo Sutra' and 'Kongocho-kyo' (Vajrasekhara Sutra) were inspired in India, is described.
Japanese: 大阪府藤田美術館所蔵の国宝『両部大経感得図』は、密教の重要経典「大日経」と「金剛頂経」がインドで感得されたという場面を描いている。
English: It was in Uchiyama Eikyu-ji Temple in Tenri City, Nara Prefecture, and was painted by FUJIWARA no Munehiro in 1136.
Japanese: 奈良県天理市の内山永久寺にあったもので、藤原宗弘が保延2年（1136年）に描いたものである。
English: Among Mandala (Mandala, or a diagram that depicts Buddhist deities according to certain geometric formats and illustrates the Buddhist world view), 'Ryokai Mandala' (Two World Mandala) (possessed by Kongobu-ji Temple, an important cultural property) has been said to be painted by TAIRA no Kiyomori with his own blood, and it is called 'Chi Mandala' (blood Mandala).
Japanese: 曼荼羅には、保元元年（1156年）に平清盛が自らの血を用いて描いたと伝承される「両界曼荼羅」（金剛峯寺蔵、重要文化財）があり、「血曼荼羅」と称される。
English: The 'Hoshi Mandala' (Star Mandala) that has been succeeded to Horyu-ji Temple and to Kumeda-dera Temple (Kishiwada City, Osaka Prefecture) were created in the 12th century (both of them are important cultural properties).
Japanese: 法隆寺や久米田寺（大阪府岸和田市）に伝わる「星曼荼羅」はともに12世紀の作（いずれも重要文化財）である。
English: The 'Image of Senju Kannon,' 'Image of Bato Kannon,' 'Image of Nyoirin Kannon' possessed by the Museum of Fine Arts, Boston were the Fenollosa-Weld Collection, and they were created in the 12th century.
Japanese: ボストン美術館蔵の「千手観音像」「馬頭観音像」「如意輪観音像」は、いずれもアーネスト・フェノロサ・ウェルドコレクションで12世紀の作である。
English: The three paintings were color paintings on silk using various craft methods, finished with a decorative touch.
Japanese: 3作とも絹本着色で、それぞれ多様な工芸的手法を用いた装飾味豊かな絵画である。
English: The 'Image of Zennyo Ryuo' possessed by Kongobu-ji Temple in Wakayama Prefecture was a Buddhist painting painted by Jochi during 1145, and is designated as a national treasure.
Japanese: 和歌山県金剛峯寺蔵「善女龍王像」は久安元年（1145年）の定智（じょうち）筆の仏画であり、国宝に指定されている。
English: It is also referred to as 'Otoku Nehan-zu Painting,' which described the scene that Shaka reached the stage of nirvana where all Bonno (earthly desires) were entirely gone.
Japanese: 「応徳涅槃図」とも称され、釈迦がいっさいの煩悩がことごとく消滅した涅槃の境地に達したようすを描いたものである。
English: It had the inscription of May 28, 1086 which was the oldest inscription of a Japanese Buddhist painting.
Japanese: 応徳3年（1086年）4月7日の銘があり、在銘の日本仏画としては最古のものである。
English: It is a Nehan-zu (Nirvana painting) filled with merciful love and hopes, and it is so great that it is referred to as the painting that represents the Heian Buddhist paintings.
Japanese: 慈愛に満ちた明るい涅槃図であり、平安仏画の代表作と称されるほどの素晴らしい出来映えを示している。
English: "Shaka Kinkan Shutsugenzu" (Shakyamuni Rising from the Gold Coffin) (a national treasure) created in the latter half of the 11th century and possessed by the Kyoto National Museum is another masterpiece that is equal to 'Butsu Nehan-zu.'
Japanese: これと双璧をなす傑作が、京都国立博物館所蔵で11世紀後半の『釈迦金棺出現図』（国宝）である。
English: It describes the scene that Shaka revived for his wife Maya who was in grief, opening the lid of his coffin himself after Shaka passed away and was placed in a gold coffin; Shaka preached his last for his wife and the people.
Japanese: 釈迦が入滅して金の棺に納められたあと、嘆き悲しむ摩耶夫人のために釈迦が棺の蓋を開けて復活し、夫人はじめ人びとに最後の説法をして諭す場面を描いたものである。
English: The 'raigo-zu' describes that a dead person is welcomed by someone from Saiho Gokuraku Jodo.
Japanese: 西方極楽浄土より往生者を迎えに来るようすを描いた絵画が「来迎図」である。
English: Among many masterpieces, "Amida Shoju Raigo-zu" (image of the Descent of Amida and the Heavenly Multitude) of Takanosan Yushihachimanko Juhachika-in Temple (高野山有志八幡講十八箇院) created in the latter half of the 12th century (a national treasure, possessed by Koyasan Reihokan Museum) is the greatest Buddhist painting.
Japanese: 名品が多いなかでとくに傑作とされるのが、12世紀後半に制作された高野山有志八幡講十八箇院『阿弥陀聖衆来迎図』（国宝、高野山霊宝館保管）である。
English: Amida Nyorai and 29 figures of Bosatsu were full in the big picture, and all of them are described as seated statues facing the front.
Japanese: 阿弥陀如来と29体の菩薩が大画面いっぱいに広がり、いずれも正面向きの坐像で描かれる。
English: His naked part is covered in kindei, and the clothed part is applied in cut-gold foil pattern, which makes his whole body look shiny.
Japanese: 肉身部分に金泥、着衣部分には截金文様が施されており、全体が金色に輝いている。
English: The Sanage kilns of Owari Province had been linking to the Ritsuryo system (a system of centralized government based on the ritsuryo code), and after the 11th century, there was a change in buyers, from the ruling class to the common people class, and unglazed Yamajawan (bowl) began to be manufactured.
Japanese: 従来、律令体制と連動してきた尾張国の猿投窯が、11世紀以後、購買層を支配者層から庶民層へとうつし、実用的な無釉の山茶碗の生産を開始した。
English: A number of Yamajawan kilns were produced through such process; Tokoname-yaki Ware in Chita Peninsula and Atsumi-yaki Ware in Atsumi Peninsula were generated in the first half of the 12th century.
Japanese: そうして多数つくられた山茶碗窯のなかから、12世紀前半、知多半島の常滑焼と渥美半島の渥美焼があらわれた。
English: Apart from a large amount of Yamajawan, big-sized pots molded with strings tied up started to be manufactured, and they were supplied to a wide area, from the northern Tohoku region to the Kyushu region.
Japanese: 大量の山茶碗のほか粘土紐巻き上げ成形による大形の壺を生産しはじめ、これが東北地方北部から九州地方に至る広い範囲に流通した。
English: In Tokoname, sankinmonko is typical while in Atsumi, various patterns of lines curved with a pallet is typical.
Japanese: 常滑では三筋文壺が特徴的であるのに対し、渥美ではヘラによる各種の線彫り文様が特徴である。
English: "Shizenyu akikusamon tsubo vase" excavated from Minami-Kase, Kawasaki City (possessed by Keio University) is designated as a national treasure.
Japanese: 川崎市南加瀬より出土の『自然釉秋草文壺』（慶應義塾大学所蔵）は国宝に指定されている。
English: Meanwhile, Suzu-yaki Ware was derived from sueki (unglazed ware) in Noto Province in the first half of the 12th century.
Japanese: 一方、須恵器系統からは、能登国において珠洲焼がやはり12世紀前半にはあらわれた。
English: The products of Suzu-yaki Ware were supplied mainly in the coastal regions of Japan Sea, from Hokkaido to Kyoto.
Japanese: その製品は北海道から京都府にかけて、主として日本海沿岸部に流通する。
English: The technique of jointing the upper body; from the waist part to the shoulder part, tied up by strings and the opening part molded by rokuro (potter's wheel) was used while the traditional molding method by rokuro was valued.
Japanese: 従来のロクロ成形を重んじながらも、胴部から肩部にかけては粘土紐巻き上げでロクロ成形の口部と接合するという技法が採用されている。
English: A tapping tool was designed to prevent cracks during baking and many patterns due to tapping and fastening remains inside.
Japanese: 焼成時の割れを防ぐため、叩き具が考案され、とくに内面にはタタキシメの文様が多くのこる。
English: The kilns for sueki included Ohata kiln (Akita Prefecture), Izumiyaji kiln, Shintame kiln (Yamagata Prefecture), Iizaka kiln (Fukushima Prefecture), Kanei kiln (Gunma prefecture), Kande Kiln, Uozumi kiln (Hyogo Prefecture), Kameyama kiln (Okayama Prefecture), Tokameyama kiln (Kagawa Prefecture), 樺番丈窯(Kumamoto Prefecture), all of which were not equipped with bunen-chu, and unglazed practical ware including jars, pots were created in plenty.
Japanese: これら須恵器系の窯には、大畑窯（秋田県）、泉谷地窯・新溜窯（山形県）、飯坂窯（福島県）、金井窯（群馬県）、神出窯・魚住窯（兵庫県）、亀山窯（岡山県）、十瓶山窯（香川県）、樺番丈窯（熊本県）があり、いずれも分焔柱をともなわない窖窯で壺、鉢はじめ庶民のための無釉の生活用具が多数製作された。
English: In the latter half of the 12th century, Mizunuma kilns were built in Ishimaki City, Miyagi Prefecture, and a Ryokufudai kiln was built in Nishiwaki City, Hyogo Prefecture.
Japanese: 12世紀後半には宮城県石巻市に水沼窯、兵庫県西脇市に緑風台窯が築かれた。
English: After acquiring the technique from Tokoname-yaki, Echizen-yaki Ware started to be manufactured in Echizen-cho, Nyu-gun, Fukui Prefecture at the end of the 12th century.
Japanese: 12世紀末葉には常滑焼の技術を受けて福井県丹生郡越前町で越前焼の生産が開始した。
English: Ever since then, kilns had been opening under the influence of Tokoname such as Shigaraki-yaki Ware or Tanba-yaki Ware until the 13th century.
Japanese: 以後、13世紀にかけて信楽焼、丹波焼など常滑の影響を受けて開窯した。
English: The lacquer ware includes "katawaguruma makie raden tebako" (Toiletry case with cart wheels in stream), a national treasure, possessed by Tokyo National Museum.
Japanese: 漆器には、東京国立博物館所蔵で国宝の『片輪車蒔絵螺鈿手箱』（かたわぐるままきえらでんてばこ）がある。
English: A number of wheels placed half into the flowing water were depicted using togidashi makie (burnished makie) in gold and blue gold or raden (mother-of-pearl inlay work) on the top of surface.
Japanese: 表面は金・青金の研出蒔絵（とぎだしまきえ）や螺鈿を用いて流水に半分浸された多数の車輪を描いている。
English: Today, it is referred to as tebako (cosmetic box), it was probably intended as a kyobako to contain a decorative sutra at that time.
Japanese: なお、今日では手箱と称されているものの、当時は装飾経を収める経箱として造られたものである可能性が高いとみられている。
English: "Nobe suzume makie tebako cosmetic box" possessed by Kongo-ji Temple (Kawachinagano City) in Kawachinagano City, Osaka Prefecture was created in the 12th century, and it is designated as an important cultural property.
Japanese: 大阪府河内長野市の金剛寺(河内長野市)所蔵の『野辺雀蒔絵手箱』は12世紀の作で、重要文化財に指定されている。