nntsuzu/KFTT huggingface dataset:
English: The history of art in the Ainu tribe, which inhabits mainly Hokkaido Prefecture and has a culture of its own, is sometimes discussed separately from what is called Japanese art history, and this is the same as the history of the art from Ryukyu (today's Okinawa Prefecture).
Japanese: おもに北海道に住み、特有の文化をもつアイヌの人々の美術や、現代の沖縄県にあたる琉球の美術については、いわゆる日本美術史とは別の文脈で論じられることがある。
English: And the above-mentioned idea about the geographical range does not always apply to the art from the 20th century, because many Japanese artists have come to produce their arts only in foreign countries or make their activities worldwide.
Japanese: もっとも、20世紀以降の美術については、作者がもっぱら海外で制作していたり、国境を越えて幅広く活動していることが多く、上記の考え方は必ずしも妥当しない。
English: Next, when it comes to the genre of the art history, handicrafts, as well as paintings and sculptures, occupy a large part in Japanese art, so art history cannot be discussed without touching on the fields of metal work, lacquer work, dyeing and weaving work, ceramic ware, and so on.
Japanese: 次に、ジャンルの面でどこまでを「美術史」で扱うかという点であるが、日本美術においては、絵画、彫刻と並んで工芸品の占める位置が非常に大きく、金工、漆工、染織、陶磁などの分野を抜きにして美術史を語ることは妥当でない。
English: Swords and arms cannot be disdained in the tradition of Japanese art, and especially swords have been sanctified as the soul of samurai, so that the exterior ornament, the attached tools, and the blade itself become appreciated as a symbol of beauty.
Japanese: 刀剣・武具も日本美術の伝統を考えるうえで軽視できない存在であり、「武士の魂」と称され神聖視されている刀剣はその外装や小道具のみならず、刀身自体が美的鑑賞の対象となっている。
English: Calligraphy forms a harmonious whole with poetry and painting in, for example, "suibokuga" (a monochrome painting in India ink), so these three have been appreciated as an inseparable art, and this is symbolized by the existence of the phrase 'The Three Perfections: Calligraphy, Poetry and Painting.'
Japanese: 「詩書画三絶」という言葉が示すように、水墨画などでは1つの作品に詩、書、絵画が表わされ、これらは不可分のものとして鑑賞された。
English: Besides, the history of architecture and Japanese garden is commonly included in Japanese art history.
Japanese: このほか、「日本美術史」という場合には、建築や庭園についても併せて論じるのが一般的である。
English: Incidentally, various styles of expression have come to be included in 'art' - from the modern age, photographs, graphic arts, and others, and in the present age (after World War Ⅱ), performing arts, happenings, video art, land art, and conceptual art, which are seen in other countries as well - so that the boundary between 'art' and others gradually becomes ambiguous.
Japanese: なお、近代以降については、写真、グラフィックアートなど、現代（第二次世界大戦以降）においては（日本に限った現象ではないが）、パフォーマンス、ハプニング、ビデオアート、ランドアート、コンセプチュアル・アートなど、さまざまな表現形態が「美術」の文脈で語られ、「美術」とそうでないものとの差異は次第にあいまいになってきている。
English: Japanese art has been greatly influenced by Chinese and Korean art since ancient times, but it also developed a culture of its own, including Kokufu Bunka (Japan's original national culture) in the Heian period.
Japanese: 日本の美術は、古代以来、中国・朝鮮半島からの影響が大きいが、平安時代の国風文化をはじめ、日本独自の展開も見られる。
English: At an early stage of the early modern ages, Christian missionaries came over to Japan, and Western art became known to some Japanese at that time, but its influence on Japanese art was quite limited.
Japanese: 近世初期に宣教師らが日本を訪れ、一部に西洋美術が知られるようになったが、その影響は局所的であった。
English: In the Meiji period, the Japanese government set a national goal of westernization and modernization, and therefore, also in the art field, hired foreigners taught Japanese, and since France was deemed the home of art, some Japanese went there for study.
Japanese: 明治時代になると、西洋化近代化が国家目標になり、美術分野でもお雇い外国人による指導が行われ、芸術の本場と考えられたフランスへ留学する者もいた。
English: Some learned the technique of Western-style painting, and others became tradition-oriented, which gave birth to Japanese-style painting.
Japanese: 洋画の技法が習得される一方、伝統への志向が生れ「日本画」が誕生した。
English: Meanwhile, in foreign countries, Japanese art attracted people's attention to its decorativeness, originated the boom of Japonisme (in English, Japanism), and gave artistic stimulation to the impressionists and Art Nouveau.
Japanese: 一方、海外において日本美術の装飾性が注目され、ジャポニズムがブームとなり、印象派やアール・ヌーボーへの刺激を与えた。
English: From a broader perspective, Japanese art is deemed a part of Asian art, and it can also be deemed a part of the art of Buddhist countries, which includes India and China.
Japanese: 日本美術は、広い視野で見れば、アジア美術の一環であり、インド、中国を含む仏教圏の美術と見なすこともできる。
English: Japanese art has developed its peculiar style always - except for the Jomon period - under the great influence of other countries - mainly that of China before the early modern ages, and that of Western countries after the modern age.
Japanese: 日本の美術は、縄文時代を例外として、常に外国（近世以前はおもに中国、近代以降はおもに西洋）の影響を強く受けつつ、独自の様式を発達させてきた。
English: Therefore, in order to understand the trend of Japanese art, it should always be compared with the art history of China and Korea, and if you think Japanese developed their art all by themselves, it is wrong.
Japanese: 日本美術の流れを理解するには、常に中国や朝鮮半島の美術史と対比して考えねばならず、日本の美術が日本人のみの手によって自律的に発達したものと考えることは誤りである。
English: Many European and American art museums have a Japanese art gallery, and this shows they recognize Japanese art as an art with its own unique style.
Japanese: 欧米の大美術館の多くに日本美術ギャラリーがあり、「日本美術」は独自の様式をもった美術として認識されていることがわかる。
English: It is true, however, that the Japanese art gallery of the Metropolitan Museum in New York and that of the British Museum in London are both smaller and newer than their Chinese and Egyptian art galleries.
Japanese: ただし、ニューヨークのメトロポリタン美術館やロンドンの大英博物館の日本ギャラリーは、中国美術やエジプト美術のギャラリーに比べて規模も小さく、開設時期も比較的新しいということは事実である。
English: Excavation and research in many places, including the Iwajuku Archaeological Site (in Gunma Prefecture), revealed that there had once existed a Paleolithic culture on the Japanese archipelago, but things that can be called art and design have rarely been found in the relics of the Paleolithic culture.
Japanese: 日本列島にも旧石器文化が存在したことは、岩宿遺跡（群馬県）をはじめ、各地での発掘調査の結果から明らかとなっているが、日本の旧石器文化の遺物には造形芸術と呼ぶべきものはほとんど存在しない。
English: It is from the sites in (and after) this Jomon period, which falls under the Neolithic culture, that the relics people of today regard as 'art' can be found.
Japanese: 現代人の考える「美術」に該当する遺物が出現するのは新石器文化に相当する縄文時代からである。
English: The Jomon period was the only period that Japanese art developed by itself without the influence and information from abroad.
Japanese: 縄文時代は日本列島の美術が外部からの影響や情報にさらされず、独自の発展をとげた唯一の時代である。
English: During this period, people made their living mainly with hunting, fishing, and gathering, but the excavation and research in some places, such as the Sannai-Maruyama Archaeological Site (in Aomori Prefecture), revealed that people had already begun cultivating and had enjoyed plentiful diets, so our perspective on this period is changing.
Japanese: この時代、人々はおもに狩猟、漁労、採集によって生活していたが、三内丸山遺跡（青森県）などの発掘調査結果によると、この時代すでに栽培が行われ、人々は豊かな食生活をしていたことが明らかになり、時代観も変わりつつある。
English: The Jomon period is classified, according to the style of the excavated pottery, into six stages, that is, the initial stage, the pre-early stage, the early stage, the middle stage, the late stage, and the final stage.
Japanese: 縄文時代は出土する土器の様式編年から草創期、早期、前期、中期、後期、晩期の6期に区分されている。
English: The carbon dating with calibration method shows that the initial stage's pottery dates back to about 16,500 years ago - with the conventional uncalibrated method, it dates back to about 13,000 years ago.
Japanese: 草創期の土器は、放射性炭素年代測定で今から約16,500年前（暦年較正年代法による。従来の放射性炭素測定年代では約13,000年前から。）にさかのぼるとされている。
English: Whichever method is right, the initial stage's pottery is the oldest of all ever found in the world.
Japanese: その年代については議論が存在するが、現在のところ、これは世界規模で見ても最古の土器ということになる。
English: Organic matter, such as wooden ware and fiber, deteriorates easily in soil, so the excavated relics of this period are mainly occupied with clay artifacts, stone objects, and bone and antler objects.
Japanese: 木製品、繊維などの有機物は土中で遺存しにくいため、この時代の出土遺物は土製品、石製品、骨角製品が中心となる。
English: The pottery varies significantly in style depending on when it was made and where it was found, and it is classified into many types.
Japanese: 土器は時代や地域によって様式にかなりの相違があり、多くの形式に区分されている。
English: On the whole, it can be said that a characteristic of this period's pottery is that the surface was covered with such various patterns, including what is called "jomon" (a straw-rope pattern, or a cord mark), that the pottery can be considered being too decorative.
Japanese: 全般的な特色として言えることは、いわゆる縄文（縄紋とも書く）をはじめとした各種文様で器面を加飾し、全体に装飾過剰の気味があることである。
English: Before the firing of the pottery, jomon was engraved by pushing a tool - a stick with a twisted thread, and there were varieties of twisting - against the pottery's surface and by rolling the tool on it, and various patterns appeared depending on how the thread was twisted.
Japanese: 縄文は、棒に撚り紐をさまざまな形に巻き付けた施文具を焼成前の器面に押し当て、ころがすことによって生ずるもので、紐の巻き付け方によってさまざまな文様が生まれる。
English: Besides, on the surface of the pottery are seen various kinds of decoration, such as a pattern engraved with some tool (a bamboo tube, a seashell, or the like), the clay string attachment, and engraved lines.
Japanese: このほか、竹管、貝殻などを施文具とした文様、粘土紐の貼り付け、刻線などさまざまな手段を用いて器面装飾が施されている。
English: Many of the initial stage's earthen vessels have simple decorations, such as "toryumon" (bean shaped design) and "tsumegatamon" (fingernail-like design).
Japanese: 草創期の土器は、豆粒文、爪型文などと称される素朴な装飾を施したものが多い。
English: The art and design unique to the Jomon period reached its peak in its middle stage, when the earthen vessels, as well as earthen figurines, became so dynamic in its design as to look too decorative.
Japanese: 中期は縄文時代特有の造形がピークに達する時期で、土器、土偶ともに装飾過多とも思えるほどのダイナミックな造形が見られる。
English: The typical examples are Katsusaka-shiki doki (the Katsusaka-type earthen vessel) excavated in the Chubu region, and Umataka-shiki doki (the Umataka-type earthen vessel) excavated in Niigata Prefecture.
Japanese: 中部地方の勝坂式土器、新潟県で出土する馬高式土器などがその代表的なものである。
English: Of the two, the latter is what is called "kaen-shiki doki" (the flame-shaped earthen vessel), and an elaborate decoration like a cockscomb (or a crown) was put on the rim, and clay strings were attached to the vessel's surface for showing an elaborate pattern.
Japanese: 特に後者はいわゆる火焔式土器と称されるもので、口縁部には鶏冠ないし王冠を思わせる複雑な形状の装飾を付し、器面にも粘土紐の貼り付けで複雑な文様を表わしている。
English: From the late to the final stage of the period, the technique of "surikeshi-jomon" (cord mark erasing) appeared, with which part of the engraved "jomon" (cord mark) was erased for setting off the remaining jomon.
Japanese: 後期から晩期にかけては、施した縄文の一部を磨り消して平滑にし、「地」と「文様」の区別を鮮明にした「磨消縄文」が現われる。
English: In these stages, the shape and the decoration of the earthen vessel gradually became more sophisticated than the shamanistic, too decorative ones in the middle stage, and this suggests that the vessel-maker's sense of beauty changed.
Japanese: 器形や装飾も中期の呪術的で装飾過剰なものから次第に洗練されたものになり、製作者の美意識の変化がうかがわれる。
English: In the final stage, the type and shape of the earthen vessel became full of variety as its use became varied, so there also appeared a earthen vessel that has the same shape as today's teapot.
Japanese: 晩期の土器は用途に応じて器種・器形も変化に富み、現代の急須と同形の土器などもある。
English: There exist earthen figurines of various shapes, including those commonly known as the heart-shaped figurine, the horned-owl-like figurine, and the goggle-eyed figurine.
Japanese: ハート形土偶、ミミズク形土偶、遮光器形土偶などと通称されるさまざまな形態のものがある。
English: They were made with an unique sense of design, so they cut a figure of the real human body completely out of proportion, in other words, they were deformed so much as to be barely recognizable as a human-like figure.
Japanese: 現実の人体の比例とは全く異った姿に表わされ、かろうじて人物像と認識できる段階までデフォルメされたものが多く、独特の造形感覚で作られている。
English: They seem to have been made with various shamanistic purposes, and the earthen figurine in the shape of a pregnant woman, for example, seems to have been made with the purpose of praying for the rich harvest of grain.
Japanese: さまざまな呪術的意図をもって製作されたものと思われるが、妊娠した女性を表現した土偶などは豊穣祈願の意図をもって作られたものであろう。
English: The earthen vessels excavated at Sasayama Archaeological Site (in Niigata Prefecture) and owned by Tokamachi City: 57 pieces of earthen vessel, including what is called "kaen-gata doki" (the flame-shaped earthen vessel), were designated as national treasures.
Japanese: 笹山遺跡（新潟県）出土品（十日町市所有）－いわゆる火焔形土器など57点が国宝に指定。
English: Sannai-Maruyama Archaeological Site (in Aomori Prefecture), Korekawa Archaeological Site (in Aomori Prefecture), Natsushima Shell-Midden (in Kanagawa Prefecture), Torihama Shell-Midden (in Fukui Prefecture), and so on
Japanese: 三内丸山遺跡（青森県）、是川遺跡（青森県）、夏島貝塚（神奈川県）、鳥浜貝塚（福井県）など
English: The Yayoi period falls under the age of the early agrarian culture, and ranged from about the third century B.C. to about the third century A.D.
Japanese: 初期農耕文化の時代であり、おおよそ紀元前3世紀から紀元後3世紀頃までの期間を指す。
English: However, some argue that the Yayoi period should date from a point five centuries earlier, based on a carbon-14 dating report that the earliest earthen vessel of this period excavated in Kitakyushu had been made in the eighth or ninth century B.C.
Japanese: ただし、北九州から出土する最初期の土器を炭素14による年代測定法で調査したところ、紀元前8～9世紀という値が出たとの報告もあり、弥生時代の始期を5世紀ほどさかのぼらせるべきだとの主張もある。
English: What differed greatly from the previous period was that Japanese culture became influenced by foreign culture and technology, and rice growing and metal artifacts, both from China, led Japanese culture to a new age.
Japanese: 前代との大きな相違は、日本列島の文化が外来の文化や技術の影響を受けるようになったことであり、稲作農耕と金属器が中国大陸からもたらされ、文化は新たな時代に入った。
English: Japan was still in the prehistoric age at that time, so we can only know about the Japanese history of this period indirectly from the contemporary Chinese history books.
Japanese: 日本列島はいまだ先史時代であり、この時代の歴史は同時代の中国の史書によって間接的に知るほかない。
English: Compared to the previous period's pottery, this period's (called "Yayoi-shiki doki" [Yayoi pottery]) became sophisticated in shape and moderate in decoration.
Japanese: この時代の土器は、前時代のものに比して器形も洗練され、装飾も控えめな弥生式土器となる。
English: In contrast to the Jomon period, which lasted more than ten millennia, the Yayoi period lasted only several hundred years, and the Yayoi period is classified, according to the style of the excavated articles, into three stages, that is, the early stage, the middle stage, and the late stage.
Japanese: 1万年以上続いた縄文時代に比して、弥生時代は期間的には数百年にすぎないが、出土品の形式編年から前期・中期・後期に分けられている。
English: Of all earthen vessels of this period, the crock-shaped vessel, excavated in Mukaigaoka-Yayoi-cho (the present Yayoi, Bunkyo Ward, Tokyo Metropolis) next to Tokyo Imperial University (today's Tokyo University) in 1874, was found for the first time in the history of Japanese archeology.
Japanese: この時代の土器は1874年（明治17年）に帝国大学（現・東京大学）の隣地の向ヶ岡弥生町（現・東京都文京区弥生）から出土した壷形土器が学史的には最初の出土例とされている。
English: "Yayoi," which came from the excavation site, took root as the name of the pottery and became the period's name, too.
Japanese: 出土地名をとって「弥生式土器」の名称が定着し、それが時代名ともなった。
English: The Yayoi pottery was made at first in the northern part of the Kyushu region, which is situated close to China and the Korean Peninsula, and then Yayoi pottery began to replace Jomon pottery in other regions as well, so the excavation site of the Yayoi pottery ranges nationwide except for Hokkaido Island.
Japanese: 弥生式土器は地理的に中国大陸や朝鮮半島に近い北部九州で最初に出現したもので、他の地方でも縄文式土器に代わって製作されるようになり、北海道を除く日本全国に分布している。
English: Jomon pottery was sometimes too decorative, whereas Yayoi pottery was mostly moderate and sophisticated in both shape and pattern.
Japanese: 縄文式土器に見られた過剰な装飾は影をひそめ、弥生式土器は器形、文様ともに温和で洗練されたものが多く見られるようになった。
English: Some earthen vessels were engraved with a human face on their rim, but in general, the figurative expression of a human is rare during this period, and the earthen figurines enthusiastically made in the former period was almost gone in this period.
Japanese: 土器の中には口縁部に人面を表わしたものもあるが、一般にこの時代には具象的な人物表現はまれで、前代に盛んに作られた土偶もこの時代にはほとんど姿を消している。
English: Besides pottery, there exist other excavated articles as well, such as metal artifacts (bronze ware, ironware, and others), stone objects, bone and antler objects, and shell objects.
Japanese: 土器以外の出土品としては青銅器、鉄器などの金属器、石製品、骨角製品、貝製品などがある。
English: The bronze bell is in the shape of a flattened-out-temple-bell (temple bell itself appeared later in Japan), and the bronze bell is supposed to have had its prototype in the Korean Peninsula, but it developed uniquely in Japan.
Japanese: 銅鐸は後世の釣鐘を扁平に圧しつぶしたような器形で、その祖形は朝鮮半島にあったと推定されるが、日本で独自に発達をとげた銅器である。
English: Some bronze bells have a reed inside, so the prototype seems to have been a kind of wind instrument, but the bell seems to have gradually lost its use as a musical instrument and to have become an implement for Shinto rituals.
Japanese: 内部に舌（ぜつ）をもつ個体があることから、その原型は打ち鳴らす楽器であったと思われるが、次第に形式化し、祭器となったものと思われる。
English: Every bell is similar in its basic shape, while the size and surface decoration varies, and some bells have a simple drawing on the surface.
Japanese: 基本的形状はどの個体も同様だが、大きさや表面の装飾にはバラエティがあり、表面に素朴な絵画表現の見られるものもある。
English: The bell is imagined to have given off a gold radiance at first, and to have flaunted the owner's wealth and dignity with the radiance.
Japanese: 製作当初は金色に輝き、所有者の富と威厳を誇示する役割があったものと想像される。
English: There exist some well-known bronze bells, such as the bronze bell that is said to have been excavated in Kagawa Prefecture - this is owned by the Tokyo National Museum, and is designated as a national treasure - and the bronze bell that was excavated in Sakuragaoka, Kobe City - this is owned by the Kobe City Museum, and is also designated as a national treasure.
Japanese: 伝・香川県出土銅鐸（東京国立博物館、国宝）、神戸市桜ヶ丘出土銅鐸（神戸市博物館、国宝）などが著名。
English: Toro Archaeological Site (in Shizuoka Prefecture), Karako Archaeological Site (in Nara Prefecture), Kojindani Archaeological Site (in Shimane Prefecture), Yoshinogari Archaeological Site (in Saga Prefecture), and so on
Japanese: 登呂遺跡（静岡県）、唐古遺跡（奈良県）、荒神谷遺跡（島根県）、吉野ヶ里遺跡（佐賀県）など
English: Japan had been divided into small states, but around this period, a powerful royal authority was established.
Japanese: 多数の小国家に分かれていた日本には、この頃から強大な権力をもった王権が成立する。
English: The typical relic of this period is "kofun" (mounded tomb) - the period's name also comes from this - particularly "zenpo-koen-fun" (keyhole-shaped mounded tomb).
Japanese: この時代を代表する遺物は、時代の名称にもなっている古墳、そのなかでも前方後円墳である。
English: Burial mounds had already been constructed in the Yayoi period mainly in Western Japan, and from around the later third century, what is called zenpo-koen-fun -- a large-scale tomb peculiar to Japan -- began to be constructed mainly in the Yamato Basin.
Japanese: すでに弥生時代から西日本を中心に墳丘墓が営まれていたが、3世紀後半頃から大和盆地を中心に前方後円墳と称される日本独特の形式の大規模な墳墓が営まれるようになった。
English: The fact that such large-scale public works were possible implies the development of work skills and the establishment of the royal authority which not only had the power to mobilize a large workforce but also the control over a wide-ranging area.
Japanese: こうした大規模な土木工事が可能になったということは、技術の発達とともに、多くの労働力を使えるだけの権力をもち、広範囲に支配を広げた王権の成立を意味する。
English: Mounded tombs were still constructed in the seventh century - in some local provinces, even until the eighth century - however, with the year 538 (around when Buddhism was introduced into Japan, they say) being the boundary, the period before this year is called the Kofun period, and the time after this is called the Asuka period.
Japanese: 古墳は７世紀に入っても築造され、地方によっては8世紀まで造られているが、仏教公伝の年とされる538年頃を境に、それ以後を飛鳥時代、以前を古墳時代と呼んでいる。
English: In this period's excavated articles, there are elaborate metal goods, including harness and accouterments, in addition, there were many other items as well, such as earthen vessels, clay artifacts, stone objects, gems, and swords.
Japanese: この時代の出土品には馬具、刀装具などの精巧な金属製品があり、その他土器・土製品、石製品、玉類、刀剣などが多く出土する。
English: "Haniwa" is an unglazed clay artifact arranged around the mounded tomb, and at first, non-figurative cylindrical haniwa appeared, and before long, bird-shaped haniwa appeared, and then, animal-shaped haniwa (other than bird-shaped ones), and human-shaped haniwa followed that.
Japanese: 埴輪は古墳の墳丘の周囲に立てられた素焼きの土製品で、具象的な形体を表わさない円筒埴輪から始まり、やがて鳥形埴輪が登場、鳥以外の動物埴輪、人物埴輪がこれに続く。
English: In the category of animal-shaped haniwa, there are the haniwa of dogs, white whiskered boars (Japanese wild boar), cows, chickens, horses in harnesses, and others, and in the category of human-shaped haniwa, there are the haniwa of warriors in armor, sorceresses, farmers, and other people of various classes and positions.
Japanese: 動物埴輪には犬、猪、牛、鶏、馬具を付けた馬などの出土例があり、人物埴輪には甲冑を付けた武人像、巫女、農民などさまざまな階層や立場の人物が表現されている。
English: The limitation on the manufacturing process made the shape of these haniwa simple, and the face (eyes and a mouth) of the human-shaped haniwa was mostly depicted by making three horizontal slits.
Japanese: これらは、製法上の制約から、形体は単純で、人物の顔貌表現は横長の穴を開けることによって両眼と口を表現したものがほとんどである。
English: The works are simple in their expression and skill, but nevertheless, they captured people's facial expressions in a dexterous way, so many of them are highly evaluated as art.
Japanese: 素朴な表現と単純な技法ながら、人物の表情を巧みにとらえ、芸術的に高く評価される作品が多い。
English: Haniwa is academically precious, partly because it provides us with visual information, from which we can know vividly about people's daily life in those days, such as clothes, hairstyle, and makeup.
Japanese: 埴輪は、当時の人々の服装、髪型、化粧など生活の実態を具体的に知ることのできる視覚情報を提供してくれるという点でも、学術的に貴重な資料である。
English: There exist some well-known haniwa, such as the Man In Armor Haniwa (excavated in Ota City, Gunma Prefecture, and designated as a national treasure), and the Haniwa of the Dancing Man and Woman (excavated in Saitama Prefecture).
Japanese: 武装男子埴輪（群馬県太田市出土、国宝）、「踊る男女の埴輪」（埼玉県出土）などが著名。
English: From the perspective of art history, the Asuka period ranged from the middle of the sixth century, when Buddhism was officially introduced into Japan, to the later seventh century, around when Japan was under the Emperor Tenchi's reign.
Japanese: 美術史上の飛鳥時代は、6世紀半ば、日本へ仏教が公式に伝来した時期から、7世紀後半の天智天皇の治世あたりまでを指す。
English: Mounded tombs continued to be constructed in this period, but the Kofun period ended with the official introduction of Buddhism into Japan.
Japanese: この時代に入っても古墳の造営は引き続き行われているが、一応、仏教公伝の時期をもって古墳時代と区切っている。
English: From the perspective of political history, the Asuka period is commonly said to have ended in A.D. 710 (the year of the national capital transfer to Heijo-kyo).
Japanese: 飛鳥時代の終期については、政治史上の区分では710年の平城遷都の年とするのが通常である。
English: Even from the perspective of art history, the period until 710 is occasionally deemed the Asuka period, but commonly, the period until 710 from 670 (the year "Nihonshoki" (Chronicles of Japan) says Horyu-ji Temple burned down) -- or from around 673 (the year Emperor Tenmu ascended to the throne) -- is deemed another period (called the Hakuho period, or the Nara period's earlier half).
Japanese: 美術史上の区分でも710年までを飛鳥時代とする場合もあるが、法隆寺が火災で炎上した（『日本書紀』による）670年、ないし天武天皇即位の673年あたりを始期として、以後平城遷都までの期間は「白鳳時代」または「奈良時代前期」として別の時代と見るのが通例となっている。
English: This period is significant, because Japan accepted Buddhism then - the first religion from abroad - and by that means laid the foundation of its culture after that.
Japanese: この時代は、日本が初めて外来の宗教である仏教を受け入れ、その後の文化の下地をつくったという点で重要な時期である。
English: The exact year of official introduction of Buddhism via Paekche (an ancient Korean kingdom) into Japan is argued between the A.D. 552-theory (backed up by the official Japanese history book Nihonshoki) and the A.D. 538-theory (backed up by "Jogu Shotoku Hooteisetsu" (Biography of Prince Shotoku) and "Gango-ji Engi" (History of the Gango-ji Temple)), and today, the established theory is the latter.
Japanese: 仏教が百済経由で日本へ公式にもたらされた（仏教公伝）時期については、公式の史書である『日本書紀』には552年、『上宮聖徳法王帝説』や『元興寺縁起』には538年とあるが、今日では後者の538年を仏教公伝の年とするのが定説である。
English: Over the introduction of Buddhism, a conflict between the two influential clans, the Soga clan (pro-Buddhist) and the Mononobe clan (anti-Buddhist), escalated into an armed struggle, and it ended in the pro-Buddhist Soga clan's victory.
Japanese: 仏教の受容をめぐっては有力氏族である蘇我氏（崇仏派）と物部氏（排仏派）の間に対立があり、ついには武力抗争に突入するが、結果は崇仏派の蘇我氏が勝利した。
English: In the end of the sixth century, the Soga clan started to construct Hoko-ji Temple (also called Asuka-dera Temple), which was the first full-scale Buddhist Temple in Japan.
Japanese: 6世紀末には日本最初の本格的仏教寺院である法興寺（飛鳥寺）の建設が蘇我氏によって始められた。
English: Emperor Yomei's son Prince Umayado, commonly known as Prince Shotoku, became a devout believer in Buddhism, so he constructed Shitenno-ji Temple in the end of the sixth century, and Horyu-ji Temple in the early seventh century.
Japanese: 用明天皇の皇子である厩戸皇子（聖徳太子の名で広く知られる）は、仏教に深く帰依し、6世紀末に四天王寺、7世紀初めに法隆寺を建立した。