nntsuzu/KFTT huggingface dataset:
English: The inside of the statue is hollowed from the breast down (the inside is hollowed for the purpose of lightening the weight and of preventing mud cracks of the statue).
Japanese: 像内部は胸以下に内刳り（像の重量軽減や干割れ防止などのために内部を削って空洞にすること）を施す。
English: Since an X-ray image shows a vertical seam on the side of main body, it is assumed that the statue, which was originally made of a single tree, was split into two at the back and belly and then hollowed.
Japanese: X線写真によれば、本体側面に縦の矧ぎ目があり、一木で制作した像をいったん前後に割り放し、内刳りを施したものと見られる。
English: It was enshrined in the north face of the Kondo (golden hall) during the early part of the Meiji period; from the late part of the Meiji period until the early part of the Showa period, it was deposited in the Imperial Household Museum of Nara (present Nara National Museum).
Japanese: 明治時代初期には金堂の北面に安置され、明治時代後期～昭和時代初期には奈良帝室博物館（現奈良国立博物館）に寄託されていた。
English: Since old records of Horyu-ji Temple contain no description about this statue, it is assumed that the statue was not in the Horyu-ji Temple since its construction but was transferred from another temple in later years.
Japanese: 法隆寺の古い記録にはこの像に当たるものが見えないことから、造像当初から法隆寺にあったものではなく、後世、他の寺院から移されたものと思われる。
English: Although there are many theories regarding when, from which temple, and for what reason the statue was transferred, the truth remains unclear.
Japanese: いつ、どこの寺院から、いかなる事情により移されたかについては諸説あるが、正確なことは不明である。
English: On December 28, 1897, it was designated a national treasure under the Ancient Temples and Shrines Protection Law as 'One Statue of Kanzeon Bosatsu Kanshitsu Ritsuzo (one dry lacquered standing statue of Kanzeon Bosatsu) (according to a legend, the work of someone of an ancient Korean kingdom [Paekche or Kudara])' (equivalent to an 'important cultural property' under the Law for the Protection of Cultural Properties).
Japanese: 明治30年（1897年）12月28日、「観世音菩薩乾漆立像（伝百済人作）1躯」として、古社寺保護法に基づく国宝（文化財保護法における「重要文化財」に相当）に指定。
English: On June 9, 1951, it was designated a national treasure under the Law for the Protection of Cultural Properties as 'One Statue of Mokuzo Kannon Bosatsu Ryu-zo.'
Japanese: 昭和26年（1951年）6月9日、「木造観音菩薩立像（百済観音）1躯」として文化財保護法に基づく国宝に指定された。
English: According to "Horyu-ji Shizai Cho" (Note of materials of Horyu-ji Temple), which existed from 747 and comprises the foundational materials of Horyu-ji Temple, no mention is made about a Buddha statue corresponding to Kudara Kannon.
Japanese: 法隆寺の根本史料である天平19年（747年）の『法隆寺資財帳』には百済観音に相当する仏像についての記載はない。
English: The "Kondo Nikki" (Daily record of main temple structure), which was established in the late 11th century, contains a detailed description of Buddha statues which were enshrined in Kondo (the Golden Pavilion) of the Horyu-ji Temple at the time, but even here no mention is made about Kudara Kannon; similarly, "Shotoku Taishi Denshiki" (The private recollections on the life of Prince Shotoku) written by Kenshin, a monk of Horyu-ji Temple during the Kamakura period, does not mention Kudara Kannon.
Japanese: 11世紀後半成立の『金堂日記』には、当時法隆寺金堂内にあった仏像に関する詳細な記録があるが、ここにも百済観音に関する言及はなく、鎌倉時代の法隆寺の僧・顕真による『聖徳太子伝私記』も同様に百済観音には触れていない。
English: It is only in early-modern times that a statue which seems to correspond to Kudara Kannon can be confirmed in a historical record.
Japanese: 百済観音に該当すると思われる像の存在が記録で確認できるのはようやく近世になってからである。
English: It is assumed that the mention of 'Kokuzo Ryu-zo (Standing statue of Kokuzo), seven shaku and five bu in height' in "Horyu-ji Shodo Butsutai Suryoki" (Record of the number of Buddha at several halls of Horyu-ji Temple) in 1698 refers to Kudara Kannon, as judged from the height of the statue, and this is considered the oldest literature recording the existence of Kudara Kannon.
Japanese: 元禄11年（1698年）の『法隆寺諸堂仏躰数量記』に「虚空蔵立像　長七尺五分」とあるのが、像高からみて百済観音に当たると推定され、これが百済観音の存在を記録する最古の文献とされている。
English: According to "Horyu-ji Shodo Butsutai Suryoki", this 'Kokuzo Bosatsu-zo' (statue of Akasagarbha Bodhisattva) is the 'Indian statue which was introduced from Kudara no kuni (Paekche).'
Japanese: 『法隆寺諸堂仏躰数量記』はこの「虚空蔵菩薩像」を「百済国から渡来した天竺（インド）製の像である」としている。
English: The "Kokon Ichiyo Shu" (literally, collection of all ages, one sun) written in 1746 by Ryokin, a monk at Horyu-ji Temple, also mentions 'Kokuzo Bosatsu', indicating that 'the origin of this statue is not mentioned in ancient records, but elders tell us that it is a statue brought over from a foreign country'; this tells us that the origin of this statue was already unclear at the time.
Japanese: 延享3年（1746年）、法隆寺の僧・良訓（りょうきん）が著した『古今一陽集』にも「虚空蔵菩薩」とあり、「この像の由来は古記にはないが、古老の伝えるところでは異国将来の像である」と述べていて、当時すでにこの像の由来は不明であったことがわかる。
English: One theory has it that the old location of this statue was Tachibana-dera Temple in Asuka ("Horyu-ji Okagami" [The Great Art of the Horyu-ji Temple], 1917), and according to a theory by Ryoshin TAKADA (the 208th kannushi [Shinto priest] of Horyu-ji Temple), it was transferred from Chugu-ji Temple in Ikaruga (a town in Ikoma County, Nara Prefecture), among other theories; yet none of them is confirmed and it remains completely unclear how, when, and by whom this statue was made, and in which temple it was enshrined.
Japanese: この像の旧所在については飛鳥の橘寺とする説（『法隆寺大鏡』、1917年）、斑鳩の中宮寺から移したものとする高田良信（法隆寺208世管主）の説などがあるがいずれも確証はなく、本像がいつ、どこで、誰によって造られ、どこの寺に安置されていたものか、正確なことは全く不明である。
English: Since the early-modern times until the Meiji period, this statue was called 'Kokuzo Bosatsu' instead of Kannon at Horyu-ji Temple.
Japanese: 近世から明治時代まで、法隆寺ではこの像を観音ではなく「虚空蔵菩薩」と呼んでいた。
English: The list, which was compiled when research was conducted on treasures of Horyu-ji Temple by the Imperial Household Ministry, Ministry of Interior, and Ministry of Education in 1886, indicated 'Korean-style Kannon'; this tells us that there was a theory according to which this statue was considered 'Kannon' since around this time.
Japanese: 明治19年（1886年）、宮内省、内務省、文部省による法隆寺の宝物調査が実施された際の目録には「朝鮮風観音」とあり、この頃からこの像を「観音」と見なす説のあったことがわかる。
English: Although it is not certain, it is assumed that the name of this 'Korean-style Kannon' was invented by Tenshin OKAKURA, who was researching cultural properties in the Nara area at the time.
Japanese: この「朝鮮風観音」という名称については、確証はないが、当時奈良地方の文化財を調査していた岡倉天心の発案によるものかと推定されている。
English: As described above, when this statue was designated a national treasure in 1897, the name given was also 'Kanzeon Bosatsu.'
Japanese: 前述のとおり、この像が明治30年（1897年）、当時の国宝に指定された際の名称も「観世音菩薩」であった。
English: However, Horyu-ji Temple was committed to using the name 'Kokuzo Bosatsu', and on April 14, 1905, a request for changing the name from 'Kanzeon' to 'Kokuzo' was submitted to the Governor of Nara Prefecture of the time, but the temple's request was not granted.
Japanese: しかし、法隆寺側では「虚空蔵菩薩」の呼称にこだわりをもっており、明治38年（1905年）4月14日、住職佐伯定胤名で当時の奈良県知事あてに「観世音」から「虚空蔵」への名称訂正願を提出しているが、寺側の願いは聞き入れられなかった。
English: Later, in 1911, a crown of this statue was newly discovered from dozo (warehouse made of soil) in the temple; since Kebutsu (the Artificial Buddha, a small-sized statue of Buddha) of Amida Nyorai (Amitabha Tathagata) was engraved at the front of the crown, the temple had to acknowledge that the statue was 'Kannon Bosatsu' (if there was Kebutsu of Amida Nyorai on the head of a statue of Bosatsu, then it meant that the statue was that of Kannon Bosatsu.)
Japanese: その後明治44年（1911年）になって、寺内の土蔵から本像の宝冠が新たに発見され、その宝冠の正面に阿弥陀如来の化仏（けぶつ、小型の仏像）が刻まれていることから、寺側でもこの像を「観音菩薩」と認めざるをえなくなった（菩薩像の頭上に阿弥陀如来の化仏があれば、その像は観音菩薩像であることを示している）。
English: The name 'Kudara Kannon', which became well-known as the popular name of this statue after the 20th century, is not very old; it is said that the name was first used in the commentary of "Horyu-ji Okagami" in 1917.
Japanese: この像の通称として20世紀以降著名になる「百済観音」という呼称はさほど古いものではなく、大正6年（1917年）の『法隆寺大鏡』の解説が初出であるとされている。
English: The "Koji Junrei" by Tetsuro WATSUJI, which was published in 1919, calls this statue 'Kudara Kannon', maybe as influenced by the description of "Horyu-ji Okagami".
Japanese: 和辻哲郎の『古寺巡礼』は大正8年（1919年）に刊行されたものだが、『法隆寺大鏡』の記述に影響されてか、この像を「百済観音」と呼んでいる。
English: In 1926, an archaeologist called Seiryo HAMADA (Kosaku HAMADA) presented 'Kudara Kannon-zo' (Statue of Kudara Kannon) on a journal titled "Buddhist Art", and gave the title "Kudara Kannon" to the collection of essays which was later presented.
Japanese: 考古学者の濱田青陵（濱田耕作）は大正15年（1926年）、『仏教芸術』誌上に「百済観音像」を発表し、後に発表した随筆集に『百済観音』という題を付けた。
English: In this manner, the name 'Kudara Kannon' became gradually rooted for this statue.
Japanese: このようにして、本像について「百済観音」という名称が次第に定着していった。
English: This statue has a different style from that of Buddha statues that are Tori-Shiki (Tori style), such as the Shaka Sanzon-zo (the statues of Shakyamuni triads), honzon (principal image of Buddha) of the Kondo of Horyu-ji Temple.
Japanese: 本像は、法隆寺金堂本尊の釈迦三尊像のような止利式の仏像とは様式を異にしている。
English: Buddha statues of Tori-Shiki have a significant level of contemplation from the front, with little consideration given to the lateral side; as such, the statues are strongly symmetrical, and while there are unique features with the diagrammatic expression of clothes and the like, the lateral side of Kudara Kannon statue is more natural, with further understanding of the form of the human body.
Japanese: 止利式の仏像は正面観照性が強く、側面感がほとんど考慮されていない点、左右相称性が強く、図式的な衣文表現などに特色があるが、百済観音像では側面感はより自然になり、立体的な人体把握が進んでいる。
English: When looking at the Kuze Kannon-zo (statue of Kuze Kannon) at honzon of Yumedono (Hall of Dreams) of Horyu-ji Temple, which is considered a work of seven centuries earlier, overall frontality and symmetry are prominent, with the long flowing hair on the shoulders having the diagrammatic style called 'warabite-jo' (literally, having the form of upturned bracken ferns), and the tenne hanging from both arms down the sides of the body spreads flatly in left and right directions, showing fin-like protrusions.
Japanese: 7世紀も早い頃の制作とされる法隆寺夢殿本尊の救世観音像を見ると、全体に正面性・左右対称性が顕著で、肩に垂れる垂髪は「蕨手状」と称される図式的なものであり、両腕から体側に垂れる天衣は鰭（ひれ）状の突起を表しながら左右方向へ平面的に広がっている。
English: On the contrary, the long flowing hair of Kudara Kannon-zo is expressed more realistically, with tenne depicted as swinging back and forth with a gentle curve; as such, the graceful curve of tenne can be acknowledged only when viewed from the side.
Japanese: これに対して百済観音像の垂髪はより写実的に表現され、天衣はゆるやかなカーブを描いて前後方向に揺れるように表現されており、天衣のカーブの優美さは側面から見て初めて了解される。
English: Based on these points, researchers agree on the most part that while Kudara Kannon-zo was made at a later time than the statue at the honzon of Yumedono and others, it is older than the Sho Kannon-zo (statue of Sho Kannon) at Yakushi-ji Temple Toin-do and Yume-Chigai Kannon-zo (statue of Yume-Chigai Kannon) at Horyu-ji Temple, among others, which show the influence of the sculpture of the early Tang period, and that it is the work of roughly around the middle to late seventh century.
Japanese: こうした点から、百済観音は夢殿本尊像などよりはやや年代が下るが、初唐彫刻の影響が見られる薬師寺東院堂の聖観音像や法隆寺の夢違観音像などよりは古く、おおむね7世紀半ばから後半の作とする点で研究者の意見はほぼ一致している。
English: However, there are many theories as to where to seek the roots of the style of this statue, none of which is established.
Japanese: しかし、この像の作風の源流をどこに求めるかについては諸説あり定説をみない。
English: On one hand, there is a theory (as supported by Takeshi KUNO, Saburo MATSUBARA, etc.) according to which the style of the Southern Dynasty of the Northern and Southern Dynasties in China influenced the style of this statue; on the other hand, there is a theory (as supported by Teruo UENO, Seiichi MIZUNO, etc.) according to which the roots of the style are with the Buddha statues of Northern Qi, Northern Zhou, and Sui Dynasties.
Japanese: 中国の南北朝時代の南朝の作風が影響したものとする説が古くからある一方で（久野健、松原三郎などの説）、北斉・北周・隋の仏像に様式的源流を見る説（上野照夫、水野清一など）もある。
English: According to the latter theory, statues of the early seventh century, such as the Shaka Sanzon-zo of Kondo of Horyu-ji Temple, are regarded as having their roots in the style of the Northern Wei Dynasty, and the statues with further understanding of three-dimensional space are regarded as having been influenced by Northern Qi, Northern Zhou, and Sui Dynasties that are dated later in history.
Japanese: 後者の説によれば、法隆寺金堂釈迦三尊像のような7世紀前半の像は北魏の作風を源流とするものと見、それよりも3次元的空間把握の進んだ像を時代の下がる北斉・北周・隋の影響下にあるものと見る。
English: The unique style of this statue as well as its mysterious introduction, among other factors, aroused the interest of many people; they are often used as the subject of essays and tanka (thirty-one syllables' poem) and the like, and are highly praised.
Japanese: 本像の特異な様式、謎に満ちた伝来などは、多くの人々の関心を呼び、随筆、短歌等でしばしば取り上げられ絶賛されている。
English: Tetsuro WATSUJI made remarks in "Koji Junrei" (1919) about this statue, which was deposited at the Imperial Household Museum of Nara.
Japanese: 和辻哲郎は奈良帝室博物館に寄託されていた本像を見た感想を『古寺巡礼』（1919年）で述べている。
English: He stated that this statue has 'broad and immeasurable implication', and that the roots of the style date back to Gandhara of India.
Japanese: 和辻はこの像には「縹渺（ひょうびょう）とした含蓄」があると言い、その様式的源流はインド・ガンダーラにまでさかのぼるものだと述べている。
English: Katsuichiro KAMEI acclaimed this statue as being like 'eternal flame blazing from the earth' in "Yamato Koji Fubutsushi" (1943).
Japanese: 亀井勝一郎は『大和古寺風物誌』（1943年）においてこの像を「大地から燃えあがった永遠の焔」のような像だと絶賛した。
English: People such as Yaichi AIZU, Hideo YOSHINO, and Isamu YOSHII produced tanka which featured Kudara Kannon; many other writers took up this statue as a subject of their works.
Japanese: 会津八一、吉野秀雄、吉井勇らは百済観音を題材とした短歌を作っており、その他多くの文筆家によって本像が取り上げられている。
English: From 1997 until 1999, under the concepts of 'Japanese years in France' and 'French years in Japan', many commemorative ceremonies took place in both countries; it was decided that one work of art, of the level of a national treasure, of each country be exhibited, and Kudara Kannon from Japan and a representative work by Eugene de La Croix titled "La Liberte guidant le people" were selected.
Japanese: 1997年から1999年にかけて「フランスにおける日本年」および「日本におけるフランス年」という趣旨で、両国において多くの記念行事が行われたが、その際、両国の国宝級美術品1点ずつを相手国で公開することとなり、日本からは百済観音が、フランスからはウジェーヌ・ドラクロワの代表作『民衆を導く自由の女神』が選ばれた。
English: Ukimi-do is a Buddhist temple of the Kaimonzan Mangetsu-ji Temple, which belongs to the Rinzai sect Daitokuji school, and it is located on a pier extending out into Lake Biwa at katata, Otsu City, Shiga Prefecture.
Japanese: 浮御堂（うきみどう）は、滋賀県大津市堅田、琵琶湖畔の臨済宗大徳寺派海門山満月寺にある、湖上に突き出た仏堂。
English: According to a legend, Eshinsozu saw Lake Biwa from Yokawa Tower on Mt. Hiei and wondered at the light in the lake shining every night, so he sent someone to pick it up by net.
Japanese: 伝によれば、恵心僧都が比叡山横川から琵琶湖をながめると、毎夜、その光明の赫々（かくかく）たるを怪しみ、網でこれを掬（すく）いとらせた。
English: So he built a statue of Amida-butsu for holding memorial services for fish and placed the golden statue in the inside of the statue of Amida-butsu.
Japanese: よって魚類殺生供養のために阿弥陀仏像1体を造り、その体内にこれをおさめた。
English: Although once it had been devastated, Emperor Sakuramachi gave a stage for Noh which had been placed in the Imperial Palace, and Ukimi-do was repaired.
Japanese: 荒廃したときもあったが、桜町天皇は禁中の能舞台をたまわり、これを再興した。
English: "Rishu-kyo" is the Buddhist scriptures of Esoteric Buddhism, which is Part Six of 'Kongocho-kyo' (Vajrasekhara Sutra).
Japanese: 『理趣経』（りしゅきょう）は、「金剛頂経」の第6会にあたる密教の経典である。
English: It is called adhyardhaśatikā prajñāpāramitā ("Hyakugoju ju Hannya" [The Wisdom Sutras of Praise in 150 Verses]) in Sanskrit.
Japanese: サンスクリット名はadhyardhaśatikāprajñāpāramitā（『百五十頌般若』）。
English: "Rishu-kyo" is the abbreviation for 'Taira kinko fuko shinji sanmaya kei' (the Sutra preaching on a state of Buddhahood in which it is realized that great pleasure is permanent like diamond, not vanity but real) or 'Hannya haramita rishubon.'
Japanese: 『理趣経』という場合は、「大楽金剛不空真実三摩耶経」（たいらきんこうふこうしんじさんまやけい、大いなる楽は金剛のごとく不変で空しからずして真実なりとの仏の覚りの境地を説く経）、あるいは「般若波羅蜜多理趣品（はんにゃはらみたりしゅぼん）」の略である。
English: However, because Xuanzang's translation of the Hannya Rishubun (gate for understanding hannyaharamitta) section of part 10 of the "Daihannyaharamitta-kyo" is regarded as being a different translation of "Rishu-kyo," it is believed that the group who compiled "Shinjitsusho-kyo" (Part one of Kongocho-kyo) developed a text in the line of the 'Hannya-kyo Sutra' into "Rishu-kyo" as Esoteric Buddhist scriptures.
Japanese: しかし玄奘訳の『大般若波羅蜜多経・第十会・般若理趣分』が『理趣経』の異訳と見做されるため、『理趣経』は「般若経」系テキストを原流として、『真実攝経』を編纂したグループが密教経典として発達させたものであると考えられている。
English: Since this sutra is known as "Hannya haramita rishubon" (its original title is "Hyakugoju ju Hannya"), it is seen as Buddhist scriptures in Hannya section; however, some think that it is placed in the groups of Esoteric Buddhist scriptures in Hodo section in terms of content.
Japanese: この経典は『般若波羅蜜多理趣品』（原タイトルは『百五十頌般若』）とあることから、般若部の経典とされているが、内容的に見れば方等部の密教経典群に位置するという見方もある。
English: It is the custom in the Shingon sect to chant "Rishu-kyo" in daily devotional exercises, which stresses the virtue of chanting sutras, among the primal scriptures "Dainichi-kyo Sutra" and texts of 'Kongocho-kyo' which is composed of 18 parts.
Japanese: 真言宗では、根本経典である『大日経』と18会からなる「金剛頂経」系テキストの内、読誦の功徳を強調する『理趣経』を毎日の勤行で唱えるのが習わしである。
English: Although Buddhist scriptures are usually read in the Wu reading, in the Shingon sect it is chanted in the Han reading of Chinese characters based on the Chinese pronunciation at the time when "Rishu-kyo" was introduced into Japan.
Japanese: 普通、経典は呉音で読まれるのが一般的であるが、真言宗では『理趣経』が日本に伝来した時代の中国語の音から漢音で読誦する。
English: For example, the title of Buddhist scriptures '大楽金剛不空真実三摩耶経' is pronounced 'Taira kinko fuko shinji sanmaya kei.'
Japanese: 例えば、経題の「大楽金剛不空真実三摩耶経」は「たいらきんこうふこうしんじさんまやけい」と読む。
English: "Rishu-kyo" is composed of 17 chapters except the Introduction in the beginning and Rutsu (circulation of Buddhism teachings) at the end.
Japanese: 『理趣経』は、最初の序説と最後の流通（るつう）を除くと、17の章節で構成されている。
English: Each chapter includes mudra (symbolic hand gesture used in Buddhism) and mantra plainly showing the contents, and Shingon Buddhist monks learn these mudra and mantra as required.
Japanese: それぞれの章節には内容を端的に表した印契と真言があり、真言僧は必要に応じてこの印明を修する。
English: Although this idea is contrasted, or identified with Hongaku philosophy in the Tendai sect, it tells that people are pure beings by nature.
Japanese: これは天台宗の本覚思想と対比、また同一視されるが、そもそも人間は生まれつき汚れた存在ではないというものである。
English: "Rishu-kyo" is characterized by teachings based on the idea of a pure human nature, which assumes that people's activities are naturally pure.
Japanese: 『理趣経』は、この自性清浄に基づき人間の営みが本来は清浄なものであると述べているののが特徴である。
English: In particular, in Homon of Great Pleasure at the beginning, 17 poems called 'Seventeen Pure Phrases' are taught.
Japanese: 特に最初の部分である大楽（たいらく）の法門においては、「十七清浄句」といわれる17の句偈が説かれている。
English: Man and woman embracing each other satisfied, being free from everything and the master of everything, and being exalted is a clean mental state of Bosatsu.
Japanese: -男女が抱き合って満足し、すべてに自由、すべての主、天にも登るような心持ちになるのも、清浄なる菩薩の境地である
English: Thus Seventeen Pure Phrases are daringly positive about sexual intercourse and human act.
Japanese: このように、十七清浄句では男女の性行為や人間の行為を大胆に肯定している。
English: Exoteric Buddhism is more likely to be negative about sexual intercourse.
Japanese: 仏教において顕教では、男女の性行為はどちらかといえば否定される向きがある。
English: On the other hand, because "Rishu-kyo" is not entirely negative about desires as shown above, it is often looked on from a biased viewpoint such as 'sex-affirmative scriptures.'
Japanese: これに対し『理趣経』では上記のように欲望を完全否定していないことから、「セックスを肯定する経典」などと色眼鏡的な見方でこの経典を語られることもある。
English: However, these phrases plainly express the pure human nature of Shingon Esoteric Buddhism, and the essence of the scriptures is to explain that human actions, ideas and activities are themselves naturally pure.
Japanese: 真言密教の自性清浄を端的に表した句偈であり、人間の行動や考え、営み自体は本来は不浄なものではないと述べていることがその肝要である。
English: Many people wrongly believe that Seventeen Pure Phrases are merely desire-affirmative, or that being desire-affirmative (or sexual intercourse) leads to Sokushin-Jobutsu (attaining Buddhahood while still alive).
Japanese: 十七清浄句は欲望の単なる肯定であると誤解されたり、また欲望肯定（或は男女性交）＝即身成仏であると誤解されたりする向きも多い。
English: Therefore, there is a strict regulation that "Rishu-kyo" should not be taught before Buddhists conduct shidokegyo (four trainings) for preparatory practices.
Japanese: したがって、『理趣経』は四度加行を実践して前行をしてからでないと伝授してはならないという厳しい規則がある。
English: The final 17th act in "Rishu-kyo" is called 'Poem of One Hundred Characters,' constituting the central part in the scriptures.
Japanese: また『理趣経』の最後の十七段目は「百字の偈」と呼ばれ、一番中心となっている。
English: According to the teaching, it is important for Shingon Buddhist monks to risk their lives to live for the benefit of the people with great desires; and it is the duty of Shingon Buddhist monks to have a clean feeling untouched by mire, and to wish for the benefit of the people with great desires.
Japanese: 真言僧は大欲（たいよく）を持ち、衆生の為に生死を尽くすまで生きることが大切であると説き、清浄な気持ちで汚泥に染まらず、大欲を持って衆生の利益を願うのが真言僧の務めであると説かれている。
English: These ideas are found in 'Juhobengakusyobon' of "Dainichi-kyo Sutra," one of two principle texts of Daiho (great traditions of Esoteric practices).
Japanese: このような思想は両部の大法の一である『大日経』の「受方便学処品」にも見られる。
English: Regarding what is taught in this Seventeen Pure Phrases many interpretations and study have been made from ancient times, and incidents occurred.
Japanese: この十七清浄句が述べられていることによって、古来よりいろいろな解釈や研究が行われ、また事件があった。
English: Saicho, who was the Founder of Nihon Tendai sect, became the disciple of Kukai, who was still nameless and young at that time, and Saicho received kanjo (a consecration ceremony by pouring water onto the top of monk's head).
Japanese: 日本天台宗の開祖である最澄は、当時はまだ無名で若輩の空海に弟子入りし灌頂を受ける。
English: Because Saicho, who aimed to establish Tendai doctrine, was very busy, he frequently made his disciples borrow Buddhist scriptures from Kukai.
Japanese: 天台教学の確立を目指し繁忙だったという理由で自らの弟子をして、空海から借経を幾度となく繰り返していた。
English: However, when Saicho tried to borrow "Rishushakukyo," an explanation book of "Rishu-kyo," Kukai finally declined to lend it.
Japanese: しかし、この『理趣経』の解説本である『理趣釈経』を借りようとして空海から遂に断られた。
English: This was a admonition to Saicho, who tried to understand Esoteric Buddhism superficially by making a handwritten copy of Sutra, not mastering the method in esoteric Buddhism; Kukai declined to lend the scriptures insisting that Esoteric Buddhism laid importance not only on scriptures but on ascetic practices and Face to Face Transmission.
Japanese: これは、修法の会得をしようとせず、経典を写して文字の表面上だけで密教を理解しようとする最澄に対して諌めたもので、空海は密教では経典だけではなく修行法や面授口伝を尊ぶことを理由に借経を断ったという。
English: Although the reason why Kukai declined remains unknown, it is generally believed that Kukai feared the misinterpretation that Seventeen Pure Phrases in "Rishu-kyo" taught sexual intercourse led to jobutsu (to become a Buddha).
Japanese: 空海が断った理由は明らかではないが、一般的にはこの『理趣経』の十七清浄句が、男女の性交そのものが成仏への道であるなど間違った解釈がなされるのを懼れたためといわれている。
English: Later on Kukai reorganized To-ji Temple as the complete Esoteric Buddhism temple, and prohibited Buddhist monks other than Shingon Esoteric Buddhists from entering; and he made a strict regulation that only disciples selected by him could study only Buddhist scriptures and originals selected by him; however, "Rishu-kyo" was not included even in these.
Japanese: 空海は、その後東寺を完全に密教寺院として再編成し、真言密教以外の僧侶の出入りを禁じて、自分の選定した弟子にのみ、自ら選んだ経典や原典のみで修行させるという厳しい統制をかけたが、その中にさえ『理趣経』はないといわれる。
English: In the Kamakura period the Tachikawa-ryu (Esoteric Buddhism), a school of Shingon Esoteric Buddhism based on "Rishu-kyo," was founded, and it was later oppressed as an evil heresy.
Japanese: また、鎌倉時代には、『理趣経』を根本とした真言密教の一派である立川流(密教)が発生し、後に淫祠邪教だとして弾圧された歴史もある。
English: (However, it is controversial whether the Tachikawa-ryu should really be seen as heresy, because there remained no books on the side of Tachikawa-ryu although there remained many books on the side of oppressors of Tachikawa-ryu.)
Japanese: （ただし、立川流を弾圧した側の書物はたくさんあるが、肝心の立川流側の書籍は全く残っていないため、それが本当に邪宗視されるべきもであったかどうかは議論される余地がある。）
English: Kongobutsushi Eison Kanjingakushoki is an autobiography of Eison, a Buddhist monk who founded the Shingon Ritsu sect in the Kamakura period.
Japanese: 金剛仏子叡尊感身学正記（こんごうぶつしえいそんかんしんがくしょうき）は、鎌倉時代に真言律宗を開いた僧侶・叡尊の自伝である。
English: Eison who thought that he could not live longer when he turned 85 started writing an autobiography on November 14, 1285 (old calendar) to look back at his religious belief and activities and ask disciples to look after his affairs when he died.
Japanese: 弘安8年（1285年）、85歳を迎えて先が短いと考えた叡尊は、自己の信仰・事業について振り返って後事を門人に託すために同年11月14日(旧暦)に執筆を開始。