nntsuzu/KFTT huggingface dataset:
English: Kakejiku is a Japanese hanging scroll made of paper or cloth on which a Japanese painting or calligraphy is mounted; it is displayed and appreciated in the tokonoma alcove and so on.
Japanese: 掛軸（かけじく）とは、書道や日本画を裂（きれ）や紙で表装して、床の間などに掛けて鑑賞するものである。
English: It seems to be meant for worship, used as 'hung and worshiped.'
Japanese: 「掛けて拝する」事に用いられ礼拝用の意味合いが強くあったと思われる。
English: It was easy to carry when kakejiku was put into paulownia box, and producing more than one kakejiku at one time could be relatively easy.
Japanese: 桐箱に入れると持ち運びに容易である事と、比較的複数生産が可能であった。
English: However, it gained wide popularity with the trend of 'suibokuga' (ink-painting), influenced by the spread of 'Zen Buddhism' in the late Kamakura period.
Japanese: しかし、鎌倉時代後期に禅宗の影響による水墨画の流行から掛軸も流行していった。
English: This trend developed kakejiku from the field of Buddhist portraitures that 'hung and worshiped,' to a complementary product of the independent work of art, such as suibokuga (ink-painting) of kacho-fugetsu (beauties of nature, the traditional themes of natural beauty in Japanese aesthetics); these works of art can be seen even better by being mounted in kakejiku.
Japanese: この流行により、掛軸は「掛けて拝する」仏教仏画の世界から、花鳥風月の水墨画など独立した芸術品をさらによく見せる補完品として発達していった。
English: Kakejiku of suibokuga (ink-painting) have been seen frequently also in the 'tokonoma' alcove of a Japanese room when 'Chanoyu' (tea ceremony) are held, since the Muromachi period.
Japanese: 室町時代以降「茶の湯」の席で座敷の「床の間」にも水墨画の掛軸が多く見られるようになった。
English: Kakejiku became popular dramatically among people who were fascinated with the tea ceremony, when SEN no Rikyu mentioned the importance of kakejiku.
Japanese: 千利休が掛軸の重要性を言葉にするようになると、茶を愛する人達により掛軸が爆発的に流行するようになった。
English: People came to think that it was important to express the formality of the guests or occasions by displaying various kinds of kakejiku.
Japanese: 来賓時その場面の格式などを掛軸で表現することが重要視される考え方が生まれた。
English: The concepts are; 'shin' (the most strictly formal), gyo (the middle of 'shin' and 'so'), 'so' (the most casual), and these three kinds are divided into further three categories respectively, according to the degree of formalities, 'shin,' 'gyo', 'so.'
Japanese: 真の（さらに真、行、草）、行の（さらに真、行、草）、草の（さらに行、草）などだ。
English: Ming dynasty-style hyogu (the technique and the craft of mounting) was introduced into Japan in the Edo period, and kakejiku began to be flourished as 'Bunjinga' (literati painting) was mounted with literati painting mounting.
Japanese: 江戸時代に明朝式表具が日本へ入り、文人画には文人表装などで掛軸が華やいでいった。
English: Kakejiku's artistic value became higher, with the support by people who also appreciated Nihon ga' (Japanese paintings).
Japanese: 日本画も楽しむという価値観をもった人達に支持され、掛軸もそれにつれ芸術価値を高めていった。
English: With the prosperity of 'Nihon ga' (Japanese paintings), kakejiku flourished vigorously in the Meiji and Taisho period.
Japanese: 明治・大正期は日本画の隆盛により、掛軸もさらに大きく飛躍していった。
English: In the Showa period, the war hindered people from enjoying viewing kakejiku and demand in kakejiku decreased sharply.
Japanese: 昭和にはいると戦争により大きく絵画を愛でる時代背景ではなく、掛軸の需要も激減した。
English: After the war, 'tokonoma' became less popular, since people remarkably started to lose interest in kakejiku of 'Nihon ga' (Japanese paintings), and the westernization of people's lifestyle,
Japanese: 戦後、日本画の掛軸離れが著しくなていったことと、生活の洋風化により「床の間」離れが目立った。
English: These following items were mounted into kakejiku, 'butsu ga' (Buddhist paintings), 'sansui ga' (Chinese-style landscape painting), 'kacho ga' (painting of flowers and birds), 'bokuseki' (black ink brush writing by Zen priests), 'kohitsu' (ancient calligraphy), 'shikishi' (a square piece of fancy paper for writing a poem on), 'tanzaku' (long, narrow card on which Japanese poems are written vertically), 'gasan' (inscriptions associated with paintings), 'shosoku' (a letter) and 'dankan,' fragmentary pieces of a scroll.
Japanese: 仏画、山水画、花鳥画、墨蹟、古筆、色紙、短冊、画賛、手紙である「消息」、巻物を切りとった一部である「断簡」などが表装され掛軸となる。
English: Tsuifuku' refers to a series of calligraphic works and painting mounted the same way.
Japanese: 連作となる複数の書画を同じ表装で仕立てたものを「対幅」（ついふく）とよぶ。
English: Tsuifuku' includes 'sofuku' (a pair of hanging scrolls) such as 'kaki kuri zu' (a painting of a Japanese persimmon and chestnut) or 'ryuko zu' (dragon and tiger painting) and 'sanpukutsui' (set of three hanging scrolls) mounted paintings such as a statue of Kannon (Deity of Mercy), monkey, or crane.
Japanese: 対幅には柿栗図や竜虎図といった双幅、観音・猿・鶴などを描いた三幅対がある。
English: The size is set up in order to be shown beautifully when kakejiku is viewed from a kneeling position, and it is produced with the size of tokonoma (tokonoma alcove) or tatami (straw mat) taken into account.
Japanese: 座って見上げるときに美しく見えるように寸法が定められており、床の間の大きさや畳の大きさを考慮して作られる。
English: Generally, in Kanto area, the ratio of the top section and the bottom is two to one: 'kami ichimonnji' (horizontally long strip of cloth put on the top of the surface) is twice the length of 'shimo ichimonnji' (horizontally long strip of cloth put on the bottom of the surface) and 'ten' (heaven, the top section) is twice the length of 'chi' (earth, the bottom section).
Japanese: 一般に関東では「上一文字」の丈が「下一文字」の丈の2倍、「天」の丈が「地」の丈の2倍といったように、上部と下部の比率が2対1になっている。
English: In Kansai area, where the size of tatami is larger than that of Kanto, the top section is a little bit shorter than the ratio of two to one.
Japanese: 関東よりも畳の大きな関西では、2対1よりも上部を若干短めに作られる。
English: For materials, paper or fabrics including 'kinran' (luxurious cloth embroidered in gold threads), 'ginran' (luxurious cloth embroidered in silver threads), 'donsu' (glossy silk cloth) and 'sha' (thin silk cloth) are used for the surface of kakejiku.
Japanese: 表装の材質として紙あるいは、金襴、銀欄、緞子（どんす）、紗（しゃ）といった裂（きれ）が持ちいられる。
English: Bunjin hyogu' or 'fukuro hyogu'・・・the style which omits some parts of 'yamato hyogu' such as 'ten' (the top section), 'chi' (the bottom) and 'futai' (a pair of strips of cloths or paper hanging from the top) and extends the top and bottom of 'cyumawashi' (the center part of kakejiku on which a painting or calligraphy is displayed).
Japanese: 文人表具、袋表具……大和表具の上下（天地）と風帯を略し、中廻しの上側と下側を伸ばした様式。
English: Honzon hyogu,' 'hotoke hyogu' and 'shinsei hyogu'・・・outside of the left and right sides of 'chumawashi' (the center part of kakejiku on which a painting or calligraphy is displayed) are covered by the same cloth used for the top and the bottom section.
Japanese: 本尊表具、仏表具、神聖表具……上下の裂で中廻しの左右の外側をも囲むようにした様式。
English: Ivory, red sandalwood, Chinese quince (pea family), 'tsuishu' (a curving on layered coats of lacquer) and crystal are used as the material of 'jiku' (a cylindrical rod at the bottom).
Japanese: 軸の材料には象牙、紫檀、カリン(マメ科)、堆朱（ついしゅ）、水晶などが用いられる。
English: The material of 'jikuhashi' (the end of knobs on a cylindrical rod at the bottom) varies according to the subject of a painting; 'jikuhashi' made of wood is for 'nan ga' (paintings of Chinese origin), 'jikuhashi' made of metal or crystal is for 'butusu ga' (paintings of Buddha).
Japanese: 画題により、南画には木製の軸端、仏画には金属、水晶の軸端などと選ばれる。
English: When a hook or nail is placed out of reach, kakejiku can be hung using a 'jizaikake,' height-adjustable stick.
Japanese: フックや釘などが高い位置にある場合には、高さを調節可能な自在掛を介して掛ける。
English: 1. Untie a 'makio' (a string connected to 'kakeo' [a string attached to the top]) and move it to the right side of a 'kakeo' (a string attached to the top).
Japanese: 巻緒（掛軸の外側に巻かれた紐）を解いて掛緒（掛軸の上部に有る紐）の右側に寄せる。
English: 2. When you roll it up around halfway, hold it in your left hand with the back of your hand up and hold the 'yahazu' (the forked edge of a bamboo stick) in your right hand, and then take the 'kakeo' (a string attached to the top) off from the nail and the like.
Japanese: 本紙を巻き込んだあたりで、左手で掛軸を順手に持ち、右手で矢筈を持ち、掛緒を釘などから外す。
English: 4. As for the kakejiku with 'futai' (a pair of strips of cloths or paper hanging from the top), first, bend the 'futai' on the left hand side into the bottom of the other 'futai' on the right hand side.
Japanese: 風帯のある掛軸の場合、まず向かって左手側の風帯を右手側の風帯の下に曲げ込む。
English: 5. When there is a 'makigami' (a piece of paper which is 5 to 7 cm in width and 20 to 25 cm in length), roll it up with the kakejiku getting its edges into the kakejiku.
Japanese: 巻紙（幅5～7cmぐらい、長さ20～25cmぐらいの紙）がある場合にはそれの一端を掛軸に巻き込む形で巻き付ける。
English: 6. Hold the kakejiku in your left hand and hold the 'makio' (a string connected to 'kakeo' [a string attached to the top]) in your right hand and then, tie the makio aroud the kakejiku three times from the left to the right (the same direction in which the kakejiku was rolled up).
Japanese: 掛軸を左手に、巻緒を右手に取り、巻緒を（掛軸を巻いてきたのと同じ向きに）左から右に3回巻く。
English: If a dead body is left for a long time at the time of wars or famine, Itsumade perches close to the dead body croaking as if it cursed, 'itsumade, itsumade' (until when) and eats the dead body.
Japanese: 戦乱や飢餓などで死んだ死体をそのまま放っておくと、死体の近くに止まり、「いつまで、いつまで」と呪詛を込めて鳴き、死体を喰らう。
English: Itsumade' s head is the head of either Oni (ogre) or human being, its body is that of dragon (or snake), with sharp teeth and nails, and it is over five meters tall.
Japanese: 頭は鬼または人間で、身体は竜（またはヘビ）、歯や爪は鋭く身長は5メートルを超えているという。
English: According to the Hiroari Kecho o Iru Koto, in the autumn of 1334, an ominous bird came up over Shishin-den Hall (hall for state ceremonies) just about every night, croaking like 'itsumademo, itsumademo' (until when), which scared people.
Japanese: それによれば建武(日本)元年（1334年）の秋、毎晩のように紫宸殿の上に怪鳥が現れ「いつまでも、いつまでも」と鳴いて人々を恐れさせていた。
English: The name, 'Itsumade' is named after by Sekien TORIYAMA when he depicted Hiroari Kecho o Iru Koto in the "Konjaku Gazu Zoku Hyakki" (Continued Illustrations of the Many Demons Past and Present).
Japanese: 「以津真天」の名は鳥山石燕がこの広有射怪鳥事を『今昔画図続百鬼』に描く際に名づけたものとされる。
English: Tenkasu (天かす, also written as てんかす, 天カス, 天滓) are small pieces of deep-fried dough produced during cooking tenpura.
Japanese: 天かす（てんかす、天カス、天滓とも書く）とは、天ぷらを揚げる時に副産物として生じる揚げかすのことである。
English: With its deep-fried flavor, rich taste of the cooking oil, and special crispy texture, tenkasu is used as foodstuff for trimmings or garnishes of various dishes.
Japanese: 天かすには揚げたことによる風味と油のコク、サクサクとした独特の食感があるため、他の料理の添え物やアクセントになる食材として利用される。
English: When frying tempura, the fluid batter of soft flour and beaten egg is removed from tempura ingredients by bits.
Japanese: 天ぷらを作る時に天ぷらだねにつけた、薄力粉と溶き卵と水からなる液状の衣が、油に入れる際に少量ずつたねから離れる。
English: Therefore after taking cooked tempura out of the oil, tenkasu should be frequently collected with a strainer or the like.
Japanese: それ故、揚がった天ぷら本体を油から取り出した後に残った天かすを、金網等を使ってこまめに回収する。
English: Tempura restaurants generate large quantities of tenkasu and some restaurants dispose of them as food wastes.
Japanese: 天ぷら屋では大量に生じ、店によっては食品廃材としてそのまま処分される場合もある。
English: At soba (Japanese buckwheat noodle) restaurants and udon (Japanese wheat flour noodle) restaurants, besides tenkasu generated from tempura, only batter dough is deep fried to be used as a food.
Japanese: そば屋、うどん屋では種物として天ぷらを揚げ天かすが生じる他に、天ぷらの衣のみを揚げ、商品として利用する。
English: Plain udon or soba noodle with tenkasu on it turns tanuki noodle (in the Kanto region) or haikara noodle (in the Kansai region) that enables addition of inexpensive rich, oily taste that plain shoyu noodle soup doesn't have sufficiently.
Japanese: すうどん・かけ蕎麦に載せることで、たぬき(麺類)（関東地方）ハイカラうどん（関西地方）となり、醤油出汁に不足している油のコクを安価に加えることができる。
English: At some udon restarurants mainly in the Kansai region, tenkasu in the container is put on the table so that customers can freely use it as garnish.
Japanese: 関西地方を中心に一部のうどん店においては、天かすを容器に入れて客席に出し、好きなだけ添えられるようにしている所もある。
English: On the other hand, cooking just a small amount of tenkasu for home use can be considered time-consuming.
Japanese: 他方、家庭等で少量使うために天かすだけを作るのは手間だと思われがちである。
English: Then, because of the constant demand, tenkasu is made and sold at supermarkets, tenpura or soba restaurants, and delicatessens as foodstuff.
Japanese: そうしたことから一定の需要があり、スーパーや、天麩羅屋やそば屋やなど飲食店、総菜店で天かすは商品として製造販売されている。
English: Some tenkasu contain other ingredients such as shrimp to improve the product, since tenkasu is originally just a residue.
Japanese: そもそもかすである天かすの商品としての価値を上げるためか、小エビなど他の細かい具材を混ぜ込んで作られた商品もある。
English: In 2003, according to a survey by The NHK Broadcasting Culture Research Institute, 68% of those asked called that deep-fried dough bit 'tenkasu' and 16% called it 'age-dama'.
Japanese: 2003年度にNHK放送文化研究所が行った調査では天かすと呼ぶ人が68％、揚げ玉が29％、揚げかすが16％という分布だった。
English: In western Japan, including the Tokai region, the result showed that the number of people who called it 'tenkasu' exceeded the national average, while in the Kanoto, Koshinetsu, and Hokkaido region, the number of people who called it 'age-dama' are higher than the national average.
Japanese: 東海地方を含む西日本では「天かす」と呼ぶ人が全国平均より多く、関東、甲信越、北海道では「揚げ玉」という人が平均より多いという結果が出ている。
English: 一原文一訳文の例外対処
Japanese: これを裏付けるように、関西地方出身者は「揚げ玉」という呼称を用いずに「天かす」と呼ぶが、東京を中心とする関東地方出身者が「天かす」という呼称を用いることはほとんどない。
English: 一原文一訳文の例外対処
Japanese: （「かす」という言葉は「屑」と同義語で「愚劣」を意味したり、あるいは下品であったりするためと思われる）。
English: 一原文一訳文の例外対処
Japanese: 食材として用いるため意図的に作ったものを「揚げ玉」とし、副産物として偶発的に作られたものを「天かす」と区別する場合・説も存在する。
English: 一原文一訳文の例外対処
Japanese: なお、大阪（特に南部から堺、和歌山にかけて）のうどん店で単に「かす」というと、天かすではなく「油かす」（牛脂を絞った残りかすを油で揚げたもの）を指すことがある。
English: A mass of deep-fried tenkasu with the remaining heat left in the dumpster can be the cause of sudden fire in one or more hours.
Japanese: 天かすを大量に作り余熱を持ったまま一ヶ所に固めてゴミ箱などに放置した場合、一時間以上後に突如出火してしまう場合がある。
English: Also, since the reaction heat hardly escapes from the piece, the trapped heat accelerates the reaction and takes fire when exceeding the fire point of the oil.
Japanese: また反応熱は固まりの内部からは逃げにくいため、こもった熱によりさらに反応が加速され、温度が油の発火点を超えると発火する。
English: The mass of warm tenkasu needs to be spread in a flat container or the like and watered to cool down before disposal.
Japanese: 大量の熱い天かすは平たい容器などに広げ、水をかけるなどして充分に冷却させてから処分する必要がある。
English: Kasuri refers to weaved patterns, some of which look as if they were 'scratched,' or refers to a fabric that has such patterns.
Japanese: 絣・飛白（かすり）とは、模様がところどころにおいて「かすった」ように織られた染め文様、もしくはそのような文様を持つ織物のことである。
English: Origasuri refers to the fabric which has weaved kasuri patterns, while somegasuri refers to the fabric which has dyed kasuri patterns.
Japanese: 織りによってそれを表現したのを織絣、染めることによって表現したものを染絣という。
English: After it was spread in the Southeast Asia including Kingdom of Thailand, Cambodia, where silk Kasuri was generated, Indonesia, and Vietnam, it was brought to Japan via The Ryukyu Kingdom.
Japanese: タイ王国やカンボジアの絹絣、インドネシア、ベトナムなど東南アジアを経て日本には琉球経由で伝わった。
English: Around 1800, Den INOUE of the Kurume Domain invented the method to weave cracked patterns (加寿利) while the monopoly system as a fiscal measure in each domain was adopted.
Japanese: 1800年頃、各藩で財政対策として専売制が採用されるなか久留米藩の井上伝が掠れ模様の織り方を発見する（加寿利）。
English: From the Meiji period through until 1960's, Kasuri was loved as a fabric for casual wafuku (Japanese traditional clothes).
Japanese: 明治から1960年代頃まで、絣は普段着の和服用の反物として親しまれた。
English: During the World War II, as women were not allowed to wear Kimono, Kimono was remade into monpe (women's work pants) to be worn.
Japanese: 第二次世界大戦中には女性の着物着用が禁止されたためもんぺとして仕立て直し着用された。
English: Since it became rare to wear wafuku as a casual wear, it came to be manufactured in small quantities because of reduced demand.
Japanese: 特に普段着としては和服が着られることがほとんどなくなったことから需要が激減、絣の生産量もわずかになった。
English: Kasuri is still weaved in many parts of Japan even today, and it is used for clothes, ties, bags, ornaments such as wall hangings, and for small items.
Japanese: 絣は現在でも日本各地で織られており、洋服・ネクタイ・鞄・壁掛けなどの装飾やその他小物などにも利用されている。
English: However, there is no growth in demand for Kasuri, which is expensive due to extra time and efforts that are required for manufacturing, while Kasuri was not treated as a luxury item as it used to be the material of casual wear.
Japanese: しかし、生産に手間がかかるため割高であるにもかかわらず、もともと普段着の素材のため高級品とは見なされず、需要は伸びていない。
English: *Regarding these Kasuri, about two to three million rolls were yearly manufactured at the peak, and any of Kasuri mentioned above is manufactured in small quantity today.
Japanese: ※これらの絣は最盛期には年間200〜300万反を生産したが、現在の生産量はいずれも少量である。
English: Kurayoshi Kasuri, Yumihama Kasuri, Hirose Kasuri are called the three pictorial Kasuri (or called the three major Kasuri) of Sanin region.
Japanese: 倉吉絣、弓浜絣、広瀬絣は山陰の三絵絣（または山陰の三大絣）と呼ばれる。
English: Tsuzumi (hand drum) is a traditional instrument unique to Japan, and refers to Kotsuzumi (small hand drum) in a narrow sense.
Japanese: 鼓（つづみ）は日本特有の伝統的な楽器のひとつで、もっとも狭義には小鼓を指す。
English: Both sides of body of Tsuzumi, which is either hourglass-shaped or gasoline drum can-shaped, are covered in leather, and tightly stretched with Shirabeo (a set of ropes used for Kotsuzumi, Otsuzumi [a large hand drum] and Shime-daiko [a rope-tuned drum]).
Japanese: 砂時計型、またはドラム缶型の胴の両面に皮を張ってこれを調緒で強く張る。
English: Either both sides or single side of leather parts are beaten by hand (s) or plectrum (s) while adjusting the tone color by tightening or loosing the strap.
Japanese: この緒をしめたりゆるめたりすることで音色を調節しながら、一方もしくは両方の皮を手または撥で打って演奏する。
English: There are two possible explanations for the pronunciation of this word: it is derived from the dudubhi or dudubhi, a percussion instrument from ancient India or it is derived from the dutangu drum (Tsudonko), an instrument from China.
Japanese: 発音については、古代インドの打楽器dudubhiまたはdundubhiから出たという説と，中国の都曇鼓(つどんこ)の音から出たという説がある。
English: Tsuzumi was generated in India, and after that, various kinds of Tsuzumi; waist drum (Yoko), Ikko drum, Ni no tsuzumi drum, San no tsuzumi drum, Yon no tsuzumi drum, and Joko (stick drum) were derived from it.
Japanese: 鼓はインドで発生し、その後中国で、腰鼓(ようこ)、一鼓(壱鼓)(いつこ)、二鼓、三鼓(三ノ鼓)(さんのつづみ)、四鼓、杖鼓(じようこ)等と多数の種類が発生した。
English: Ikko drum, Ni no tsuzumi drum, San no tsuzumi drum, and Yon no tsuzumi drum came down to Japan for Togaku music in the Nara period.
Japanese: 一鼓、二鼓、三鼓、四鼓は、日本に奈良時代、唐楽(とうがく)用として伝わった。
English: Afterward, waist drums, Ni no tsuzumi drum, and Yon no tsuzumi drum were died out, and Ikko drum has been used in bugaku (traditional Japanese court music accompanied by dancing) while San no tsuzumi drum is used in Komagaku music.
Japanese: 後に腰鼓、二鼓、四鼓は絶えたが、壱鼓は舞楽に残り、三ノ鼓は高麗楽(こまがく)で使われている。
English: Tsuzumi is also used in sangaku (form of theatre popular in Japan during the 11th to 14th centuries), the popular entertainment which came down from China to Japan.
Japanese: また中国から日本に伝わった民間芸能である散楽(さんがく)にも鼓が使われている。
English: In the "Dankyu Sangaku Zu" (the Dankyu bow with the ink paintings of ancient Chinese performing art of Sangaku) owned by Shoso-in Treasure Repository, the scene that Tsuzumi is beaten by bachi Beaters or hands is depicted.
Japanese: 正倉院蔵の〈弾弓散楽図〉には、鼓を桴や手で打つようすが描かれている。
English: These various Tsuzumi came down from China, and after a while, Kotsuzumi and Otsuzumi were developed in Japan.
Japanese: こうしたさまざまな鼓が中国から伝来し、やがて小鼓、大鼓(おおつづみ)が日本で成立した。
English: Sticks (bachi Beaters) are used for Joko drum to play, and Joko is characterized by different leather materials that are used on the both sides of its body.
Japanese: 杖(桴(ばち))を使って演奏する杖鼓は、両面の革に異種の材を用いるのが特徴である。
English: Originally, it was a rhythm instrument, and enables to produce different tone colors depending on the methods of beating it by hand (s), and freely operating a strap.
Japanese: 本来はリズム楽器であるが、手で打つ奏法と緒を自由に操作することによって数種類の音色を打ちわけることが可能となる。
English: Haboku-sansui refers to Sansui-ga (Chinese-style landscape painting) which is painted using haboku (the broken-ink technique) technique (to be described later).
Japanese: 破墨山水（はぼくさんすい）とは破墨の技法（後述）を用いて描かれた山水画のこと。
English: Haboku-sansui-zu' is a Sansui-ga (Chinese-style landscape painting) which was created by Sesshu in 1495 and was given to Sesshu's disciple, Soen.
Japanese: 「破墨山水図」は、雪舟が1495年に制作し、弟子の宗淵に与えた山水画。
English: The term, 'haboku' was commenced to be used in the latter half of the period of Tang Dynasty, and the meaning of the term varies depending on period and context.
Japanese: 「破墨」という用語は唐代後半から使用されてきたが、時代や文脈によって意味が違っている。
English: In current ink-wash painting, it means 'giving a three-dimensional appearance by Bokuten (inking) and Notan (contrasting density) of ink.'
Japanese: 現在の水墨画では、「墨点と、墨の濃淡で立体感をあらわすこと」である。
English: It is also described as 'the technique to add a kozumi (deep India ink) before the lightly painted point dries.'
Japanese: 「淡墨で要所を描き乾かないうちに濃墨を点じる技法」という解説もある。
English: Kozumi sheds usuzumi (light India ink) and generates an effect of 'kozumi breaks usuzumi' (Huáng Gōngwàng, representing mountain and water distinctively).
Japanese: 濃墨が淡墨をはじき、「濃墨が淡墨を破る」（黄公望、写山水訣）効果を生む。
English: The term, 'haboku' is used to generate an effect similar to shed an ink by crossing ink lines.
Japanese: 「破墨」という用語は、書道においては、墨線と墨線が交差して、墨をはじいたような効果をだす現象に使用される。
English: It seemed that in the latter half of the period of Tang Dynasty, 'haboku' meant 'Sansui (landscape, hills and rivers) expressed with assembled Bokuten (inking) that is quickly and sharply painted' (He Huijian).
Japanese: 唐代後半には、「速く鋭い筆法で描く墨点の集合で表現する山水」の意味だったらしい（何恵鑑）。
English: Nagikama is a weapon which has an approximately 210 cm-long columnar wooden stick as a handle, to the upper part of which a short straight sword with its edge facing toward is orthogonally attached.
Japanese: 薙鎌（なぎがま、ないかま）は、長さ七尺程度（約210cm）の円柱の木棒を柄とし、刃を手前にした短い直刀を柄の先端に直角に付けた武器。
English: It is used as to mow down, to thrust, to cut, to defeat opponents by hooking with the blade, or to cut their heads.
Japanese: 薙ぐ、突く、切る、刃を引っ掛けて相手を倒す、首を切るなどして使用する。
English: It is considered as a derivative of a long-handled sickle for cutting algae entangling boats.
Japanese: 舟に絡まった藻などを切るための、柄の長い藻狩り鎌を武器に転用したものとされる。
English: It's considered as one of the furnishing goods for samurai as well as "naginata" (Japanese halberd) or spears, and already used during the Genpei War, but after the civilization and enlightenment, it hardly existed and also there are few schools which teach its techniques.
Japanese: 薙刀や槍と同じ武士の調度品で源平合戦では既に使われていたとされるが、文明開化以降はほとんど残らず、教える流派も極少数である。
English: There are also schools which use "kusarigama" (a chain-sickle) which consists of nagikama with a chain weight, in the art of kusarigama of the combined swordplay.
Japanese: また、剣術併伝の鎖鎌術で薙鎌に鎖分銅を付け鎖鎌としたものを使用する流派もある。
English: Kyo-Yuzen (dyeing technique) is one of the traditional arts of Kyoto, and refers to dyeing technique that was designed by Yuzensai MIYAZAKI, who was a painter of folding fan, in the Genroku era.
Japanese: 京友禅（きょうゆうぜん）とは、京都の伝統工芸品の1つで、元禄時代に扇絵師の宮崎友禅斎によって考案された染色。
English: It was exposed in Kamo-gawa River (Yodo-gawa Water System) to generate a bright color, but nowadays, it is made in suburbs.
Japanese: 鴨川(淀川水系)の流れでさらし、鮮やかな色彩を出していたが、最近は郊外に移転している。
English: Traditional hand-drawn Yuzen requires extremely time-consuming work composed of twenty six processes for completion, therefore, techniques of dyeing a fabric with models or of print-type dyeing are mainly used.
Japanese: 本格的な手描き友禅の場合、完成までに26もの工程を踏む大変手間のかかるものとなるため、現在は型染めや捺染が主流。
English: A rough design is drawn with colors extracted from petals of blue Asiatic Dayflowers, and resisting agents, which are contained in a thin case, are placed on a fabric in a way similar to the way in drawing an outline with ink.
Japanese: ツユクサの花弁から抽出した色素で下絵を描き、輪郭を墨で描く要領で細い筒に入った防染剤を生地に載せていく。
English: The glue made from sticky rice and rice bran was once used, and gum is used nowadays.
Japanese: かつてはモチ米とヌカで作った糊を使っていたが現在はゴム糊なども使う。
English: After that, it is colored, and then painted with the color for a base after covering the entire pattern with glue.
Japanese: その後で色を挿し、文様全体を糊で覆ってから地の色となる染料につける。
English: The detailed works such as drawing antennas of a butterfly, painting the eyes of a bird, or making gradation, are performed after peeling off the glue which covered the pattern.
Japanese: 蝶の触覚、鳥の目の書き入れ、ぼかし等細かい行程は文様を覆った糊を剥がした後に行う。
English: Tetsunojo KANZE is the name used mostly after the Meiji period, by the head of a branch family of the Kanze family, the head family of Kanze school of Nohgaku.
Japanese: 観世銕之亟(かんぜ・てつのじょう)は能楽観世流宗家観世家の分家当主がもっぱら明治以降名乗っている名。
English: In the mid Edo period (in 1752), Motoakira KANZE, the 15th family head of Kanze school, made his younger brother Kiyohisa KANZE establish a branch family.
Japanese: 江戸中期（1752年）に観世流十五世宗家観世元章が弟観世清尚に別家させて成立。
English: Minoru UMEWAKA is the name used as an "inkyomei" (name after retirement) in the UMEWAKA family, shite-kata (main roles) of Kanze school of Noh.
Japanese: 梅若実（うめわかみのる／みのり）は能楽シテ方観世流梅若家において隠居名として用いられる名である。
English: Setsugo is a pseudonym after the retirement, using a Chinese character, '雪,' in shite-kata (main roles) of Kanze school of Noh.
Japanese: 雪号（せつごう）とは能楽シテ方観世流において、隠居後に名のる「雪」字を用いた雅号のこと。