nntsuzu/KFTT huggingface dataset:
English: Characteristically, general clocks use the teijiho (system of uniform length hours), a timetable which divides a day into 24 equal parts, as a leading rule.
Japanese: 特徴として、一般の時計が1日を24等分した時刻法の定時法を原則としている。
English: In contrast, Japanese clocks are manufactured under the futeijiho (varying length system), which divides seasonally changing sun's celestial objects infestation into 6 equal parts.
Japanese: それに対し、季節によって変化する太陽の天体の出没の間をそれぞれ6等分した不定時法を前提として製作されている。
English: Strictly speaking, in the Edo period, the length of day and night was not changed everyday, but changed every 15 days, so the clock device was set to it.
Japanese: なお厳密には、江戸時代においては毎日昼と夜の長さを変えていた訳でなく、15日毎の変更になっていたので、時計の仕掛けもそれに合わせられた。
English: A clock runs at the constant speeds, so there were a method of replacing a clock face every 15 days (wari-koma dial) and a method of exchanging two kinds of tenpu (weights), one for day and the other for night (nicho-tenpu), automatically at the border between day and night (ake-mutsu [dawn], kure-mutsu [dusk]).
Japanese: 時計の進む速度は基本として一定なので、15日ごとに時計の文字盤をはめ変える方式（割駒式文字盤）のものと、昼用と夜用の2種類の天符（おもり）を使用し、昼と夜の境（明六つ、暮六つ）ごとにそれぞれが自動的に切り替わる方式のもの（二丁天符）が存在した。
English: However, either method requires people to adjust time change every 15 days.
Japanese: しかしながら、どちらの方式であっても15日ごとの時間変更は人間が調整する必要がある。
English: However, the perpetual clock shown in the image changes the position of the characters showing time on the clock face full-automatically.
Japanese: しかしながら、画像の万年時計は、文字盤の時間を表す文字の位置が全自動で変化する。
English: Since clocks were luxury goods and many of the holders were wealthy people at that time, many decorated clocks were also made.
Japanese: 当時、時計は高級品であり持つのは富裕な人が多かっため、装飾が施されたものも多く作られた。
English: In addition, there were plentiful kinds of clocks, such as hanging clock, yagura-dokei (lantern clock), dai-dokei (clock with mounting), shaku-dokei (pillar clock with hour scale), makura-dokei (bedside clock), desk clock, keisan-dokei (paper weight clock), inro-dokei (medicine case clock), and pocket watch.
Japanese: また、種類も掛時計・櫓時計・台時計・尺時計・枕時計・卓上時計・卦算時計・印籠時計・懐中時計など豊富に存在した。
English: Shaku-dokei is a clock whose weight attached to the upper part of the reed-shaped box moves machines in the box, and whose clock hands attached to the weight show scale.
Japanese: 尺時計とは、短冊形をした箱の上部に取り付けられたおもりが箱の中の機械を動かし、おもりに付いた針が箱の目盛を指す。
English: It is formally called tachimawari (stylized fight scene) in Kabuki or tate (sword battle) in theatrical performances as well as movies and commonly called 'chanbara.'
Japanese: 正式には立回り（歌舞伎）、殺陣（たて。演劇・映画）などと呼ばれ、俗称として「チャンバラ」が用いられる。
English: It derives from an imitative sound, chanchan barabara which expresses the clashing sound of sword fight, but because it sounds insulting and cheap, it is not used openly now.
Japanese: もとは刀の触れあうチャンチャンバラバラという擬音から出た言葉で、現在ではやや侮蔑した響きや安っぽい感じがあるために、公然と用いられることは少ない。
English: Shifting from the original meaning, historical dramas in novels, theatrical performances, movies and TV series which feature swordplay scenes are called chanbara commonly or in derogatory tone.
Japanese: この意味より転じて、剣戟場面を中心とする時代物の小説や演劇・映画・テレビドラマ（時代劇）などの俗称・蔑称でも用いられる。
English: This is because the early historical movies and novels were produced only featuring flashy swordplay scenes that could be popular easily instead of focusing stories and artistic qualities.
Japanese: 初期の時代物映画や時代小説が、話の筋や芸術性よりも、派手で俗受けしやすい剣戟の場面を重視し、もっぱらそれのみへの興味によって制作されたところから来るものといえる。
English: 'Chanbara' also refers to a children's play imitating swordplay scenes of historical movies.
Japanese: 「チャンバラ」という語は、時代劇映画などの剣戟シーンを真似て行う子供の遊びをも指すようになった。
English: Children often use chunks of wood, wooden swords or rolled newspapers resembling Japanese sword to battle each other.
Japanese: この遊びでは、多くの場合は、刀（日本刀）を模した木切れや木刀、新聞紙を丸めたものなどを手に持って、複数の子供で打合う。
English: In the old days it was a universal children's play in Japan and also it was a continuation of 'make-believe play' in which children acted like the actors of that time.
Japanese: 日本では古くは普遍的に見られた遊びで、当時の劇俳優等になりきる「ごっこ遊び」の延長でもあった。
English: It is seldom seen now because wild plays are not preferred recently, but until 1960's when historical movies were popular, chanbara was one of the most popular plays for boys.
Japanese: 現在では時代劇の人気が衰え、乱暴な遊びがあまり好まれなくなったためにめったに見かけられないが、時代劇映画が流行した1960年代ごろまでは、少年がもっとも熱狂する遊戯のひとつであった。
English: To play chanbara, only some children were necessary without any special tools and complicated rules, therefore they often played chanbara at that time when there were not so many playthings.
Japanese: その特徴は、人数さえ集まれば、これといった道具やややこしいルールがなくとも遊べる簡単さにあり、子供の遊び道具が豊富ではなかった時代にチャンバラがしきりと行われたのはここに理由があるといっていいだろう。
English: At that time when there were no video games that are seen universally now, children were seldom given expensive toys and often used things around them as playthings.
Japanese: 今日普遍的に見られるテレビゲームなどは無かった時代の話ではあるが、子供たちは高価な玩具を与えられる事は少なく、もっぱら身の回りの物を遊び道具としていた時代の話である。
English: Now historical dramas are not popular among children, chanbara as children's play still survives in a lot of animated huge robots and special effects heroes that fight using swords or sword-like equipments.
Japanese: 現在では、時代劇の子供への人気は決して高くは無いが、アニメの巨大ロボットや特撮ヒーローに、刀、またはそれに類する道具を使って戦うものも多く、遊びとしてのチャンバラは根強く生き残っている。
English: There were no rules or regulations in chanbara, and in the easiest way children just acted their favourite roles battling with 'swords' and even in more elaborate way, children were just divided into two sides such as heroes and evil strangers.
Japanese: チャンバラには、ルールや規則といったほどのものはなく、もっとも簡単な場合、それぞれが自分の好きな役に扮して「刀」で打合うというようなものであり、手の込んだものでも、せいぜい正義の味方役と悪人方にわかれるくらいものであった。
English: There was a simple rule 'when you are killed by sword, you pretend to be dead', but there was no aspect to fight to determine winning or losing.
Japanese: これらでは「切られたら死んだフリ」といったような単純なルールこそあったが、特に勝ち負けを競うという側面は存在していなかった。
English: In case that roles of evil strangers and heroes were clearly casted among children, there was a cardinal rule 'evil strangers are always defeated by heroes at the end - encouraging the good and punishing the evil,' following the convention of historical dramas, therefore there were often competitions for heroes.
Japanese: 鉄則は、時代劇の文法を守って「最後に悪人は正義の味方に倒される（勧善懲悪）」というものであり（ただし明確に悪人役が決められて遊ぶ場合に限る）、このため役を決めて遊ぶ場合には、正義の味方役が奪いあいになることがよくあった。
English: When it was not adjusted well, some children acted various heroes of different stories freely and evil strangers who wanted to play heroes did not die soon after killed, and also it was seen that children who had 'aesthetics of how to be killed' acted dying scenes exaggeratingly.
Japanese: 調整がうまくつかないと、様々な作品のヒーロー役が乱立したり、悪人方に回されたのを納得しない子供がやられて死ぬ演技をなかなやかやってくれなかったりするが、中には「切られ役（殺陣）の美学」を持つ子供が、オーバーな臨終のシーンを演じる等といった動きも見られた。
English: First of all, chunks of wood were used as 'sword' and children who were good at handicraft made fine 'wooden swords' – not the wooden swords for actual fight of kendo (Japanese art of fencing), but a sword-shaped thin pieces of wood - by whittling wide branches with Higonokami (a cheap knife produced by press working).
Japanese: 使用する道具は、まず第一に「刀」の代りになる木切れで、器用な子は太い枝を肥後守（プレス加工で作られた安価なナイフ）で削って立派な「木刀（ただし剣道で使う実戦的な打撃を目的とする木剣では無く、刀のような形状をした薄い木片である）」を作ったりもした。
English: Except sharpening pencils, Higonokami may have worked most for making wooden swords in children's life.
Japanese: 鉛筆削りを別にすると、肥後守が子供の生活のなかでもっとも活躍するのはチャンバラのための木刀づくりであったかもしれない。
English: Also children were often scolded by their mothers, because they used mother's bamboo rulers for sawing as swords.
Japanese: また母親が縫いものをするための竹の物差し（→尺）で代用して叱られることも多かった。
English: It seems that swords for children's chanbara were commercially available on the market since the late Edo period, but they were luxury items for many children and seldom used.
Japanese: これとは別にチャンバラ遊びのためのおもちゃの刀は江戸時代後期ごろから市販されていたようだが、多くの子供たちにとっては贅沢品で、めったに用いられることはなかった。
English: Toy swords for children became general in the marketplace since polyvinyl chloride swords were sold, but chanbara was less popular among children already at that time.
Japanese: 市販のおもちゃの刀が一般的になるのはポリ塩化ビニル製のものが売られるようになってからだが、もうそのころには子供がチャンバラをして遊ぶことは少なくなってきてしまっていた。
English: In this case, there is less risk of injury and even when a sword is broken it's easy to fix damages, therefore it is often used for events of elementary schools.
Japanese: この場合けがの心配が少なく、壊れてもすぐに作り直せるので、小学校の行事などでよく使われる。
English: Also other things like a waist strap to hold a sword are necessary and the most important thing is a wrapping cloth.
Japanese: そのほかに必要となるものに刀を差すための腰紐などがあげられるが、もっとも重要なのは風呂敷である。
English: Originally it was used to imitate Kurama Tengu who was the most popular hero of historical drama especially among children, in which Kurama Tengu played by Kanjuro ARASHI was wearing Sojurozukin (the hood of Sojuro) as his trade mark, which was commonly called 'the hood of Kurama Tengu' or 'the squid food' due to the shape.
Japanese: これは本来、時代劇ヒーローのなかでも特に子供に人気があった鞍馬天狗に扮するために、嵐寛寿郎演ずる鞍馬天狗のトレードマークであった宗十郎頭巾（「鞍馬天狗の頭巾」とか、形状から「イカ頭巾」などと俗称された）を真似るために用いられたものであった。
English: Wrapping cloth was used as a cape of hero later because of foreign movies, American comics and others.
Japanese: 風呂敷は後に、洋画・アメリカン・コミックスなどの影響によって、正義の味方のマントとしても用いられた。
English: It is assumed that it was the effect of "Ogon batto" and "Superman," but the traditional chanbara style fighting with swords remained intact and a blending of Japanese and Western styles appeared in 1970's that a hero wore wrapping cloth cape as well as a sword in his waist.
Japanese: これには『黄金バット』や『スーパーマン』のイメージがつよかったと思われるが、刀で打合う伝統的なチャンバラのスタイルはくずれなかったため、1970年代ごろからのチャンバラ遊びでは、正義の味方は風呂敷のマントに木刀を腰に差すという和洋折衷スタイルも登場した。
English: In any way, wrapping cloth is a symbol of hero with special meaning in chanbara.
Japanese: いずれにしろ、風呂敷は、チャンバラ遊びにおいて正義の味方の表象であることが多く、特別な意味を持っている。
English: In recent years, chanbara has been brought back as a kind of sports called sports chanbara.
Japanese: 近年、遊びとしてのチャンバラがスポーツの一種として復興し、スポーツチャンバラとして登場している。
English: While the original chanbara was a kind of theatrical 'make-believe play,' sports chanbara has rules and specific equipments with consideration to prevent injury by being beaten.
Japanese: 旧来のチャンバラが、演劇性のある一種の「なりきり遊び」であったのに対し、スポーツチャンバラではルールが存在し、また使用する道具も指定され、打撃によって怪我をしないよう配慮された物を使用する。
English: In Kendo, heavy protective gears and bamboo swords which hurt players if they are hit are used and strict training is necessary, therefore it was difficult to be developed as an international sport.
Japanese: 剣道は、重い防具や当たれば痛い竹刀を使うこと、武道として厳しい稽古を必要とすることなどから国際的なスポーツに発展し難い部分があった。
English: The origin of sports chanbara is an extension of make-believe game chanbara as well as art of defense using a stick as a weapon, in which an appropriate length stick is used to beat an opponent (hollow soft material stick is used for game, so there is no concern about injury and also special lightweight protective gear is put on face).
Japanese: スポーツチャンバラの原点はごっこ遊びとしてのチャンバラと、護身術としての棒術の延長にあり、適度な長さの棒で相手を打ち据える（試合で使用する器具は中空の軟質素材であるため怪我の心配が無く、また顔には専用の軽量な防具をつける）というものである。
English: It seems that there are increasing numbers of players year after year because it determines winners and losers in the game and also it has the original excitements of chanbara such as team competition.
Japanese: 勝ち負けが存在し、またその一方で集団戦などの従来のチャンバラが持つ楽しさもあるため、年々その愛好者は増えている模様である。
English: In recent years, the equipments were improved to new ones which were made of vinyl with balloon structure while the old ones had a risk of cushion deterioration.
Japanese: 近年では使用する道具を改良、従来器具のクッション劣化による危険性の増加を防ぐため、ビニール製の風船構造を持つ器具が使用されている。
English: Mikka gojoho or Gojoho mikka is a term used to refer to unwritten rules in kabuki world.
Japanese: 三日御定法（みっかごじょうほう）または御定法三日（ごじょうほうみっか）とは歌舞伎界における不文律の一つ。
English: For the first three days after the opening day, kyogen players must have speeches (kyogen players' duty).
Japanese: 初日が開いてから三日間は、狂言方は、セリフをツケなければならない（狂言方の義務）。
English: Kyogen writers themselves belong to a theater, but it was common for them to choose Onadai (a top actor) from among the actors there and make him exclusively work for them by tipping much and giving him financial support.
Japanese: そのため、狂言作者は劇場に所属する身分であるものの、大名題は、その中の一人を、恒常的に祝儀をはずんだり日頃の生活の面倒を見るなどして、自己の事実上の専属とすることが一般的であった。
English: The director, especially external one, is allowed to change directions by trial and error for three days when he is engaged on a new work or a revival (Directors' right).
Japanese: 新作・復活ものなどの場合、演出家（特に外部演出家）は三日間のみ試行錯誤し、演出を変更することが許される（演出家の権利）。
English: The reason of this custom is that practically the first few days were for open rehearsals in the kabuki performances.
Japanese: この風習ができた理由として、そもそも歌舞伎興行で最初の数日は実際には公開尾舞台稽古だったことがあげられる。
English: There are various reasons for performance cancellation such as illness, accident, arrest for driving under the influence of alcohol, filming for other company and so on.
Japanese: 病気、事故、酒気帯び運転による逮捕、他社映画撮影など、興行中における休演の理由はさまざまである。
English: Although the reason of cancellation is dissolved in one day, the initial actor cannot perform for three days (Suspension of the right).
Japanese: しかし休演の理由がたとえ一日で解消されても、本役は三日間舞台に出ることはできない（権利の停止）。
English: The substitute must throw away his own style, and perform in exactly the same style with the initial actor.
Japanese: なお代役は自らの型を捨てて、休演している役者とまったく同じ型を演じなければならない。
English: If the initial actor's cancellation extends longer than three days, he is to be off till the end of the month.
Japanese: 三日過ぎても休演を続けなければならない場合は、その月いっぱい休演となる。
English: However, if the substitute consents, he can come back as with the case mentioned above.
Japanese: ただし上の項目と同様、これも代役が承諾すれば本役が復帰することができる。
English: Wall paintings at Ajanta cave temples (mainly the 5th to 6th century, midland India) and wall paintings at Sigiriya (the 6th century, Sri Lanka) are well known.
Japanese: アジャンター石窟の壁画（5～6世紀ごろが中心、中部インド）、シーギリアの壁画（6世紀、スリランカ）が有名である。
English: There are some wall paintings to decorate stone and earthen walls in the remains of Buddhist temples at Bamiyan, Kizil, Miran, Bezeklik, and so on, and we see that they are influenced from various styles such as Rome, India, China and so on.
Japanese: バーミヤーン、キジル、ミーラン、ベゼクリク等の仏教寺院遺跡には、石・土の壁を飾る壁画があり、ローマ、インド、中国など様々な様式の影響がある。
English: From Mogao Caves in Dunhuang City, a large number of wall paintings from the 5th to 12th century as well as Buddhist paintings drawn on banners, Buddhist paintings drawn as illustrations at the beginnings of Buddhist scriptures in Kansubon (book in scroll style) have been discovered together with Mogao literature.
Japanese: 敦煌市莫高窟からは、5世紀から12世紀の多数の壁画の他、幡（のぼり）に描いた仏画、経典の挿し絵として巻子本の経典の冒頭に描かれた仏画が、敦煌文献とともに発見された。
English: At Mogao Caves, many Buddha biographies and honshotan (tales of Siddhartha's good deed in previous life) were created in the Northern Wei Period around the 5th century.
Japanese: 敦煌石窟では、北魏代の5世紀ごろには、仏伝と本生譚が多く制作された。
English: The portraits of the five patriarchs of the Shingon Buddhism which Kukai brought to To-ji Temple were authentic paintings of the Tang Dynasty created by Li Zhen and others who were kyutei gaka (court painters) (around AD 806).
Japanese: 空海が東寺に将来した真言五祖像は、宮廷画家の李真などが制作した確実な唐代絵画（ACE806年頃）である。
English: The formidable-looking Juroku Rakan zu (painting of Sixteen Arhats) by Guanxiu (832 - 912) of Former Shu (Qianshu) in the Godai-Jikkoku (Wudai Shiguo) period is well known.
Japanese: 五代十国時代の前蜀では、貫休（832年-912年）の容貌魁偉な十六羅漢図が知られる。
English: Among works in the early Liao Dynasty, there are wall paintings in the style of the painting academy in Northern Song at rocky hill temples (Shanxi Province) (AD 1167).
Japanese: 遼初期の作品としては北宋画院様式の岩山寺（山西省）の壁画がある（ACE1167年）。
English: Buddhist paintings of the Southern Sung period were imported into Japan and Kenpon Chakushoku Senju Kannon-zu (a picture of Thousand Armed Avalokiteshwara, colored on silk cloth) owned by Eiho-ji Temple and others have been passed down.
Japanese: 南宋時代の仏画は日本にも輸入され、永保寺所蔵の絹本着色千手観音図などが伝わっている。
English: After the Southern Sung period, Buddhist ink-wash paintings and hakubyoga (white monochrome drawings) reflecting the tastes of temples of Zen sect and bunjin-kanryo (government officials of letters) were also created.
Japanese: 南宋時代以降には、禅宗寺院や文人官僚の趣味にあわせた、水墨画や白描画の仏教絵画も制作された。
English: In addition, as Mongolians worshipped Tibetan Buddhism, Buddhist paintings in the Tibetan style were introduced in Yuan Dynasty, and since then many of them were created in the Ming and Qing periods.
Japanese: また、モンゴル族はチベット仏教を信仰していたため、元(王朝)時代にチベット様式の仏教絵画が導入され、以後、明、清時代にも盛んに制作された。
English: Regarding the Asuka period, the remains of paintings, not to mention Buddhist paintings, are scarce and therefore we can only imagine the paintings of those days from the paintings shown on the walls of Tamamushi-no-Zushi (the "Beetle Shrine") of Horyu-ji Temple and from the designs of such remaining artifacts as tenjukoku shucho (embroidery representing Tenjukoku paradise) at Chugu-ji Temple.
Japanese: 飛鳥時代については、仏教絵画に限らず、絵画の遺品そのものが僅少であり、法隆寺の玉虫厨子の壁面に表わされた絵画や、中宮寺の天寿国繍帳のような工芸遺品の意匠から当時の絵画をしのぶほかない。
English: Reviewing these remains of artifacts, it is presumed that paintings of those days were succinct as greatly influenced by the style of the Chinese six dynasties.
Japanese: これらの遺品を見ると、当時の絵画は中国六朝様式の影響が濃い、簡明な様式のものであったと推定される。
English: Reviewing very few remains of artifacts such as Yakushiji Kichijoten zo (the Statue of Kichijoten at Yakushi-ji Temple), we recognize that like other contemporary figurative arts Buddhist paintings of those days were strongly influenced by Tong Dynasty in China.
Japanese: 薬師寺吉祥天像などのわずかに残る遺品を見ると、この時代の仏教絵画は、同時代の他の造形作品と同様、中国・唐の影響が強い。
English: The characteristics of the wall paintings of Kondo (the Golden Pavilion) of the Horyu-ji Temple are strong wire-drawing called Tessenbyo (wire-line drawing) and deep shaded expressions, and these styles are considered to have originated from the paintings in India and the western region (Central Asia).
Japanese: 法隆寺金堂壁画は鉄線描と呼ばれる強い線描と濃い陰影表現が特色で、その様式の源流はインドや西域（中央アジア）の絵画にあると見なされている。
English: Out of the wall paintings of Kondo (the Golden Pavilion) of the Horyu-ji Temple, the twelve mural paintings on the large walls burned down by the fire which broke out in 1949, and only 20 mural paintings of Hiten (a flying, music-playing Buddhist angel) escaped the fire.
Japanese: 法隆寺金堂壁画のうち大壁の壁画12面は1949年の火災で焼損し、小壁の飛天の壁画20面のみが焼損をまぬがれている。
English: Horyu-ji Temple Kondo, Main Hall, mural: Burned down in 1949 (20 mural paintings of Hiten [a flying, music-playing Buddhist angel] escaped the fire), the early Nara period.
Japanese: 法隆寺金堂壁画：1949年焼損（小壁の飛天の壁画20面のみ焼損をまぬがれる）、奈良時代初期
English: Although Buddha statues of Esoteric Buddhism were created since the Nara period, the acceptance of Esoteric Buddhism was fragmentary.
Japanese: 奈良時代から密教系の仏像は制作されていたが、密教の受容は断片的なものであった。
English: In the early Heian period, the ninth century, Kukai, Saicho, and other Buddhist monks went to Tang (to China for study) one after another and brought the systematic Esoteric Buddhism to Japan.
Japanese: 平安時代初期の9世紀になると空海、最澄らの僧が相次いで入唐（中国・唐へ留学）し、日本へ系統的な密教を伝えた。
English: Those monks who went toTang for study brought to Japan many Mikkyo-zuzo paintings such as Ryokai mandala (also called Ryoubu mandala), which had a deep impact on Buddhist paintings in Japan.
Japanese: 彼ら入唐僧はまた、両界曼荼羅（両部曼荼羅ともいう）などの密教図像を数多く日本へもたらし、これらはその後の日本の仏教絵画に深い影響を与えることとなった。
English: Ryokai mandala symbolically represents the view of the world conceived by Esoteric Buddhism; and although the original which Kukai brought over does not exist any more, commonly called Takao mandala at Jingo-ji Temple is said to have been created when Kukai lived and to be close to the original which Kukai brought over.
Japanese: 両界曼荼羅は密教の世界観を象徴的に表わしたもので、空海が将来した原本は残っていないが、神護寺の通称・高雄曼荼羅は空海の時代に制作されたもので、空海将来の原本に近いものとされている。
English: In the late Heian period, as influenced by "Ojoyoshu" (The Essentials of Salvation) by Genshin (a priest) and other writings, Jodo-shinko (the Pure Land faith) which prays for resurrection to Saiho Gokuraku Jodo were spread, and also Mappo-shiso (the "end of the world" belief) which considers the present world as the end of the world where Buddhism has declined was spread.
Japanese: 平安時代後期になると、源信(僧侶)の『往生要集』などの影響で、阿弥陀如来の住する西方極楽浄土への再生を願う浄土信仰が広まり、また、現世を仏法の衰えた末法の世とする末法思想が広まった。
English: Under such circumstances, Amida Nyorai Raigo-zu (painting of Descent of AmitabhaTathagata), Illustration of the Pure Land, and so on were created aggressively.
Japanese: こうした関係で、この時代には阿弥陀如来来迎図、浄土図などがさかんに制作された。
English: Also, increase in faith on Hokke-kyo Sutra mainly by Imperial court and nobility caused the wide-spread creation of the statues of Fugen Bosatsu which were supposed to protect the believers of Hokke-kyo Sutra.
Japanese: また、宮廷、貴族を中心に法華経への信仰が高まり、法華経信者を護持するとされる普賢菩薩の像がさかんに作られた。
English: That was the time when the culture in Japan as a whole gradually got away from the strong influence from China and Japanization made progress and this trend is seen in Buddhist paintings from this period.
Japanese: この時代は日本の文化全体が中国の強い影響を次第に脱して和風化が進んだ時代であり、仏画にもその傾向が見られる。
English: The twelfth century in the late Heian period saw the peak of the history of Japanese Buddhist paintings, and, starting with Fugen bosatsu zo (statue of Fugen bosatsu [Samantabhadra Bodhisattva]) owned by Tokyo National Museum, many aristocratic and aesthetic works were created.
Japanese: 平安時代末期の12世紀は日本仏教絵画史のピークの1つで、東京国立博物館所蔵の普賢菩薩像をはじめ、金銀の箔や切金を多用した貴族的、耽美的な作品が数多く作られた。
English: Among Hokke-kyo Sutra and other Buddhist scriptures, there are the remains of so-called sosyoku-kyo (copying of a sutra with decorative ryoshi-paper) whose ryoshi-paper (paper for writing) is decorated with gorgeous coloring and gold and silver foil inlay
Japanese: 法華経をはじめとする経典の中には華麗な彩色や金銀箔で料紙を装飾し、紐や軸にまで贅をこらした、いわゆる装飾経の遺品がある。
English: Furthermore, among the emakimonos (illustrated scrolls) which were widely produced in the late Heian period, we find those whose subject matter is Buddhism such as legends of the temple foundation and biographies of high ranking monks.
Japanese: もう一つ、平安時代後期に盛んに製作されるようになった絵巻物の中にも、寺院の開山縁起や高僧の伝記のような仏教を題材としたものが見られる。
English: In this period, Raigo-zu (painting of Descent of Amitabha Tathagata) and sosyoku-kyo (copying of a sutra with decorative ryoshi-paper) were created following the previous period, but we see the advent of new genres such as Rokudo-e (paintings of the six realms) in the context of philosophy of the six realms, Juo-zo (the statue of Juo) depicting the dead realm's king who judges the dead, and suijakuga which are paintings based on the theories of Buddhist/Shinto unity, and the contents of Buddhist paintings became diverse.
Japanese: この時代には前代に引き続き来迎図や装飾経なども制作されているが、六道輪廻思想を背景とした六道絵、亡者を裁く冥界の王たちを描いた十王像、日本の神を仏教の仏が姿を変えたものとする本地垂迹説に基づく垂迹画など、新しいジャンルが現れた時代でもあり、仏教絵画の内容は多彩になった。
English: The portrait of a Zen monk in the Zen-specific style is called Chinso, and the portrait of Daito Kokushi at Daitoku-ji Temple is one of the representative works of this period.
Japanese: 禅宗特有の形式による祖師像を頂相（ちんそう）と言い、大徳寺の大燈国師像などがこの時代の代表作である。
English: The Buddhist paintings of this period have the tendency to emphasize lines drawn in sumi in general as compared to those of the Heian period, and their designs are strongly influenced by the age of the Sung dynasty in China.
Japanese: この時代の仏画は、平安時代のものに比べて一般に墨線を強調する傾向があり、様式的には中国・宋(王朝)の影響が強い。
English: During this period, as Ashikaga Shogun Family supported Zen sect, it became even more popular than in the previous period, and ink-wash painting Rakan zu (pictures of Buddha's disciple) and Kannon zu (Avalokitesvara painting), etc. were aggressively created.
Japanese: この時代は、足利将軍家が禅宗を保護したことから前代にもまして禅宗が盛んになり、水墨による羅漢図、観音図などがさかんに制作された。
English: Mincho, an artist monk who lived at Tofuku-ji Temple is a representative artist of the period and there exists many of his works including chromatic pictures and ink-wash paintings.
Japanese: 東福寺に住した画僧・明兆（みんちょう）はこの時代を代表する作者で、彩色画、水墨画ともに多くの作品がある。
English: During the early modern ages a large number of Buddhist paintings were created, which are classified by shape into paintings on the walls of fusuma of a building and painting on folding screens, and by genres into literati painting, Rimpa school, MARUYAMA Shijo school, Ukiyoe, and others, and therefore it is difficult to say that Buddhist paintings were of the main stream in the history of paintings.
Japanese: 近世にも仏教絵画は多数制作されるが、この時代には形の上では障壁画、屏風絵、ジャンルの上では文人画、琳派、円山四条派、浮世絵などさまざまな絵画が制作され、仏教絵画は絵画史の主流であったとは言いがたい。
English: Even in this period such an artist as Tamechika REIZEI Fukko Yamato-eha (a group of artists from the late Edo period who consciously attempted to revive the past tradition of Heian and Kamakura periods) created superior Buddhist paintings.
Japanese: ただ、この時代にも復古大和絵派の冷泉為恭（れいぜいためちか）のように優れた仏画を残した作家もいる。