墨: 1167 Terms and Phrases

• 墨
• sumi
• India ink
• Chinese ink
• ink stick
• ink-cake
• squid ink
• octopus ink
• carpenter's inking string
• Sueo
• Sumisaki
• Norikazu
• Boku
• black ink
• Mexico
• Sumi (Chinese Ink)
• Inkstick

• 遺墨
• autographs (brushwork) of departed person

• 翰墨
• brush and ink
• writing
• drawing

• 靴墨
• shoe polish
• shoe cream

• 古墨
• old ink stick
• Koboku (old ink stick)

• 朱墨
• red-ink stick
• red and black

• 水墨
• water and ink
• ink painting

• 石墨
• graphite
• black lead
• Ishizumi

• 赤墨
• vermillion stick
• red ink

• 中墨
• centre line (usu. in buildings, joinery, etc.)
• center line

• 唐墨
• Chinese ink

• 鍋墨
• soot on the bottom of a pot or pan

• 縄墨
• standard
• inked timber marking string

• 日墨
• Japan and Mexico

• 入墨
• tattoo
• tatoo

• 白墨
• blackboard chalk
• whiting
• Chalks

• 薄墨
• thin or diluted ink
• Usuzumi

• 眉墨
• eyebrow pencil
• blackened eyebrows
• distant mountain range

• 筆墨
• stationery
• pen and ink
• writing materials

• 芳墨
• scented ink
• honorific reference to another's letter

• 墨家
• mohist
• follower of mohism

• 墨画
• India-ink drawing

• 墨絵
• ink painting
• Sumie

• 墨客
• artist
• writer

• 墨魚
• cuttlefish
• squid

• 墨刑
• tattooing (form of punishment in ancient China)

• 墨痕
• ink marks
• handwriting

• 墨糸
• inked marking string

• 墨守
• adherence (to custom, tradition)

• 墨汁
• India ink
• China ink
• ink (of a cuttlefish, etc.)
• Bokuju

• 墨書
• writing in India ink

• 墨場
• meeting place for calligraphers and painters

• 墨色
• ink black

• 墨跡
• writing (especially of a Zen monk)
• penmanship
• Bokuseki
• Bokuseki (ink trace)

• 墨蹟
• writing (especially of a Zen monk)
• penmanship

• 墨袋
• ink sac (in cephalopods)

• 墨池
• inkstone well
• inkhorn

• 墨壷
• ink bottle
• carpenter's inking device
• chalk line

• 墨堤
• banks of the Sumida river

• 墨縄
• inked marking string
• Suminawa

• 墨繩
• inked marking string

• 藍墨
• indigo wax shaped as an inkstick

• 阿墨
• Azumi

• 奥墨
• Okusumi
• Okuzumi

• 沖墨
• Okizumi

• 海墨
• Myuu

• 久墨
• Kusumi

• 香墨
• Kouboku

• 高墨
• Takasumi

• 黒墨
• Kurozumi

• 寺墨
• Terazumi

• 住墨
• Soushirou

• 諸墨
• Morozumi

• 昌墨
• Katsushirou

• 真墨
• Masumi

• 摺墨
• Surusumi

• 川墨
• Kawasumi

• 相墨
• Aizumi
• Sousumi
• Souzumi

• 打墨
• Utsutsumi

• 大墨
• Oosumi

• 田墨
• Tazumi

• 墨井
• Sumii

• 墨浦
• Bokuho

• 墨岡
• Sumioka

• 墨屋
• Sumiya

• 墨外
• Bokugai

• 墨江
• Sumie

• 墨哉
• Bokuya

• 墨崎
• Sumisaki

• 墨山
• Sumiyama

• 墨子
• Bokushi
• Mozi

• 墨人
• Sumito
• Bokuto

• 墨水
• Bokusui

• 墨石
• Bokuseki

• 墨仙
• Bokusen

• 墨川
• Sumikawa

• 墨染
• Sumizome
• The Sumizome bus stop

• 墨村
• Sumimura

• 墨谷
• Sumitani
• Sumiya

• 墨田
• Sumita
• Sumida

• 墨東
• Bokutou

• 墨藤
• Bokutou

• 墨本
• Sumimoto

• 墨俣
• Sunomata

• 墨名
• Tona

• 墨矢
• Sumiya

• 墨友
• Sumitomo

• 墨林
• Sumibayashi

• 墨僊
• Bokusen

• 墨繪
• Sumie

• 磨墨
• Surusumi
• Masumi

• 無墨
• Muboku

• 有墨
• Arisumi

• 奧墨
• Okuzumi

• 具墨
• Guzumi (dark grey pigment)

• 製墨
• How to make ink sticks

• 墨攻
• A Battle of Wits (2006 film)

• 墨壺
• Chalk line

• イカ墨
• squid ink
• Cephalopod ink

• 伊寿墨
• brassy chub (Kyphosus vaigiensis)

• 伊須墨
• brassy chub (Kyphosus vaigiensis)

• 烏賊墨
• squid ink

• 水墨画
• India-ink painting
• Suiboku-ga
• Suiboku-ga (ink painting)
• Ink and wash
• Suibokuga
• Ink wash painting

• 雪と墨
• snow and ink (esp. used as an example of diametric opposites, like night and day)

• 入れ墨
• tattoo
• tattooing

• 墨烏賊
• golden cuttlefish (Sepia esculenta)
• Japanese spineless cuttlefish (Sepiella japonica)

• 墨絵風
• ink painting style

• 墨汁嚢
• ink sac (in cephalopods)

• 墨書き
• inking the outlines of a picture

• 墨消し
• blotting out characters with ink

• 墨西哥
• Mexico

• 墨染め
• dying black
• dyeing black
• dyed black
• dark

• 墨描き
• inking the outlines of a picture

• 墨付き
• handwriting
• autograph
• authorization
• authorisation
• certificate
• certified document
• paper with signature of the shogun or lord

• 墨付け
• blackening the face

• 墨付鮫
• whitecheek shark (Carcharhinus dussumieri, species of the Indo-West Pacific)

• 墨浮鮴
• floating goby (Gymnogobius petschiliensis)

• 墨流し
• marbling print
• paper marbling

• 墨流蝶
• Asian constable (species of butterfly, Dichorragia nesimachus)

• 墨黠虜
• late Edo-period pejorative for Americans

• 墨曲し
• setting up
• marking

• 西石墨
• Nishiishizumi

• 石墨山
• Ishizumisan

• 石墨町
• Ishizumimachi

• 東石墨
• Higashiishizumi

• 東墨田
• Higashisumida

• 薄墨桜
• Usuzumizakura

• 不墨子
• Fubokushi

• 浮墨山
• Ukisumiyama

• 墨坂南
• Sumisakaminami

• 墨染駅
• Sumizome Station (st)

• 墨染寺
• Bokusenji
• Bokusen-ji Temple

• 墨染町
• Sumizomechou

• 墨田区
• Sumidaku
• Sumida, Tokyo

• 墨田川
• Sumidagawa

• 墨縄子
• Bokujoushi

• 墨之助
• Suminosuke

• 墨俣町
• Sunomatachou

• 墨野倉
• Suminokura

• 磨墨峠
• Surusutouge

• 褶墨川
• Surusumigawa

• 墨ツケ
• inking

• 墨ツボ
• ink pad
• ink pot

• 墨出し
• laying a chalk line
• marking

• 墨入れ
• inking

• 墨塗り
• Suminuri (Black ink painting)

• 油煙墨
• Lamp soot ink

• 造墨手
• Zobokushu (ink maker)

• 墨染通
• Sumizome-dori Street

• 墨玉県
• Karakax County

• 墨俣城
• Sunomata Castle

• 薄墨毛
• Dun gene

• 即墨市
• Jimo

• お墨付き
• handwriting
• autograph
• authorization
• authorisation
• certificate
• certified document
• paper with signature of the shogun or lord

• イカの墨
• squid's ink

• 亜墨利加
• America
• United States of America

• 烏賊の墨
• squid's ink

• 旧套墨守
• clinging to old customs
• adhering to old traditions

• 御墨付き
• handwriting
• autograph
• authorization
• authorisation
• certificate
• certified document
• paper with signature of the shogun or lord

• 詩人墨客
• poets and artists
• persons who take delight in such refined pursuits as poetry, literature, painting, and calligraphy

• 水墨山水
• landscape painting in black india ink

• 文人墨客
• writers and artists
• persons who take delight in such refined pursuits as poetry, literature, painting and calligraphy

• 米墨戦争
• Mexican-American War (1846-1848)
• Mexican–American War

• 墨痕淋漓
• dripping ink marks
• a work of calligraphy being written in bold and vivid strokes

• 墨染め衣
• priest's black robe

• 羽黒摺墨
• Hagurosurusumi

• 沼尻墨僊
• Numajiri Bokusen

• 深草墨染
• Fukakusasumizome

• 墨坂神社
• Sumisaka Shrine

• 墨田ユキ
• Sumida Yuki (h) (1967.11.3-)

• 墨田川線
• Sumidagawasen

• 黒は墨。
• Black was India ink.

• 墨の特質
• Characteristics of sumi

• 墨の種類
• Types of sumi

• 破墨山水
• Haboku-sansui

• 墨汁一滴
• Bokuju Itteki (A drop of Indian ink)

• 長尾真墨
• NAGAO no Masumi

• 墨染めの衣
• priest's black robe

• 深草墨染町
• Fukakusasumizomechou

• 石墨慶一郎
• Ishizumi Keiichirou (h) (1921.7.17-2001.5.6)

• 脱墨パルプ
• deinked pulp (DIP)

• 古筆・墨蹟
• Ancient Writing and Calligraphy

• 黒 - 墨
• The black pigments: Sumi (Indian ink)

• 初期水墨画
• The early Suiboku-ga

• 室町水墨画
• Muromachi-Suiboku-ga

• インク・墨
• Color ink and black ink

• 墨俣布施屋
• Sunomata Fuseya

• 墨俣城主。
• The lord of Sunomata-jo Castle

• 石墨で覆う
• cover with graphite

• 角膜入墨術
• corneal staining

• 安八郡墨俣町
• Anpachigunsunomatachou

• 癡絶道冲墨蹟
• Chan (Zen) Calligraphy by Chijue Daochong

• 《圜悟墨蹟》
• Kango bokuseki (圜悟墨蹟)

• 古林清茂墨蹟
• Kurin Seimu Bokuseki: Calligraphy by Kurin Seimu (Gulin Qingmao)
• Calligraphy by Gulin Qingmao

• 竺仙梵遷墨蹟
• Jikusenbonsen Bokuseki: Calligraphy by Jikusenbonsen, a naturalized monk from China's Yuan dynasty

• 日本の水墨画
• Suiboku-ga in Japan

• 磨墨について
• On surusumi

• 禅様（墨跡）
• Zen style calligraphy (bokuseki)

• 現在の製墨業
• The present day industry of making and selling ink sticks

• 駿河墨書小判
• Suruga Sumigaki Koban

• 武蔵墨書小判
• Musashi Sumigaki Koban

• 絹本墨画滝図
• Ink on silk image of a waterfall

• 大燈国師墨蹟
• Calligraphy of Daito Kokushi
• Calligraphy by Daito Kokushi

• 法雲閑極墨蹟
• Calligraphy by Fayun Xianji

• 宗峰妙超墨蹟
• Calligraphy by Shuho Myocho

• 竺仙梵僊墨蹟
• Jikusen Bonsen Bokuseki

• 墨俣川の戦い
• Battle of Sunomata-gawa

• 白隠慧鶴の墨跡
• Indian-ink drawings by Ekaku HAKUIN

• 蝋箋・ 墨流し
• The Rosen and Suminagashi

• 松煙墨（青墨）
• Burnt pine ink (seiboku)

• 「破墨山水図」
• Haboku-sansui-zu'

• 破墨という技法
• Technique called the haboku (the broken-ink technique)

• 墨色が美しい。
• Its ink black is beautiful

• 京阪本線墨染駅
• Keihan Main Line Sumizome Station

• 伏見墨染郵便局
• The Fushimi Sumizome post office

• 紙本墨画高僧像
• Monochrome ink painting on paper Koso-zo

• 紙本墨画雲龍図
• Unryu-zu (painting of dragon and clouds), monochrome ink painting on paper

• 絹本墨画山水図
• Monochrome ink painting on silk of landscape

• 紙本墨画観音像
• Monochrome ink painting on paper of portrait of Kannon

• ペンシル型眉墨
• an eyebrow pencil

• 根尾谷淡墨ザクラ
• Neodaniusuzumizakura

• 墨入れ（製図の）
• inking

• 紙本墨書悉曇略記
• Writing in ink on paper of Shittan ryakuki (Essentials of Sanskrit characters)

• 工芸品としての墨
• Sumi as a handicraft

• 禅僧の書（墨跡）
• Calligraphic works by Zen priests (bokuseki)

• 昔ながらの製墨法
• The old style method of making ink sticks

• 本所 (墨田区)
• Honjo (Sumida Ward)

• 両国 (墨田区)
• Ryogoku (Sumida Ward)
• Ryōgoku

• 向島 (墨田区)
• Mukojima (Sumida Ward)

• 日墨修好通商条約
• Japan-Mexico Treaty of Amity, Commerce, and Navigation

• 墨江ハニ族自治県
• Mojiang Hani Autonomous County

• 紙本墨書長福寺縁起
• Shihon Bokusho Chofuku-ji Engi (Writing of the History of Chofuku-ji Temple, inked on paper)

• 墨…インクである。
• Sumi: Ink

• 小野小町・墨染の精
• ONO no Komachi and Sumizome fairy

• 虚堂智愚墨蹟 尺牘
• Writings of Xutang Zhiyu

• 絹本墨画維摩居士像
• India-ink on silk portrait of Yuima koji

• 絹本墨画普賢菩薩像
• Ink on silk portrait of the bodhisattva Samantabhadra

• 紙本墨画将軍塚絵巻
• Monochrome ink painting on paper Shogun zuka-emaki

• 一休宗純墨蹟　6点
• 6 calligraphy works written by Ikkyu Sojun

• 紙本墨画淡彩瓢鮎図
• Monochrome ink painting on paper Hyonen-zu (A Man Catching Catfish with a Gourd)

• 紙本墨画出山釈迦像
• Monochrome ink painting on paper portrait of Shakamuni coming forth from the mountains

• 夢窓疎石墨蹟 2幅
• 2 works of calligraphy by Muso Soseki

• 室町水墨画・中世絵画
• Muromachi-Suiboku-ga (Ink landscape paintings in the Muromachi Period)/ Middle Ages paintings

• 紙本墨画山水図32面
• Monochrome ink painting on paper of thirty-two pictures of sansui-zu (a painting of the landscape).

• 紙本墨書林丘寺御手鑑
• The Rinkyu-ji Temple Otekagami (a collection of calligraphy, imperial correspondence, and other works) inked on paper.

• 肉筆画（紙本墨画）。
• An original drawing (monochrome ink painting on paper).

• 墨染寺（ぼくせんじ）
• Bokusen-ji Temple

• 紙本墨画高僧像　1巻
• Sumi Ink on Paper Image of Koso – 1 Scroll

• 徹翁義亨墨蹟 言外号
• Writings of Tetto Giko

• 紙本墨画花鳥図　8幅
• 8 ink on paper Kacho-zu (images of flowers and birds)

• 紙本墨画雲竜図　8幅
• 8 ink on paper Unryu-zu (images of clouds and dragons)

• 紙本墨画山水図　8幅
• 8 ink on paper Sansui-zu (landscape images)

• 紙本墨画十巻抄10巻
• Ink painting on paper: ten volumes

• 水墨画と大和絵を融合。
• He fused Suiboku-ga (ink painting) and Yamatoe (Japanese traditional styles of painting since the Heian Era) together.

• 薄墨は悲しみを表わす。
• The light black color represents sorrow.

• 2幅からなる紙本墨画。
• Shihon Bokuga (monochrome ink painting on paper), consisted of 2 scroll paintings.

• 紙本墨画胎蔵曼荼羅略記
• Womb Realm Mandala (abbreviated), ink on paper

• 紙本墨画達磨像　祥啓筆
• Ink on paper image of Dharma painted by Shokei

• 紙本墨画達磨宗六祖師像
• Monochrome ink painting on paper Daruma Sotatsu-Soshi-zo

• 紙本墨画達磨像　墨渓筆
• Monochrome ink painting on paper of portrait of Bodhidharma by Bokkei

• 紙本墨画山水図　墨斎筆
• Monochrome ink painting on paper of landscape by Bokusai

• 紙本墨画蘭石図 梵芳筆
• Monochrome ink on paper painting of orchids and rocks, painted by Bonpo

• 墨ツボみたいに真っ黒で
• As black as a tar-barrel;

• 溌墨山水図（正木美術館）
• Splashed Ink Landscape (Masaki Museum of Art)

• 紙本墨書花園天皇宸翰消息
• Shihon Bokusho Hanazono Tenno Shinkan Shosoku (Autograph letter of Emperor Hanazono, inked on paper)

• 墨絵（すみえ）とも言う。
• It is also called Sumie.

• 本所教会（東京都墨田区）
• Honjo Church (Sumida Ward, Tokyo Prefecture)

• 多くの文人墨客と交わる。
• He established friendships with many writers and artists.

• 墨松墨梅図（石橋美術館）
• Bokusho Bokubai-zu (pine and plum trees all in India ink) at Ishibashi Museum

• 遺墨は少なく貴重である。
• His calligraphy is considered valuable as not much of it exists.

• 紙本墨画不動明王像　5幅
• Sumi Ink on Paper Image of Fudo Myoo – 5 scrolls

• 紙本墨画密教図像　39点
• Sumi Ink on Paper Image of Mikkyozu – 39 items

• 紙本墨画四天王図像　1巻
• Sumi Ink on Paper Image of Shitennozu – 1 Scroll

• すべて墨画で彩色はない。
• They are all done in monochrome ink with no use of color.

• 大燈国師（宗峰妙超）墨蹟
• Calligraphy by Daito Kokushi (Shuho Myocho)

• 賢劫経紙本墨書巻物（注）
• Kengokyo Shihon Bokusho Makimono (Scroll of Kengokyo Sutra with ink on paper)*

• 日本の水墨画を一変させた。
• He revolutionized the Japanese ink painting.

• 紙本墨書聖一国師忌斎幹縁疏
• 紙本墨書聖一国師忌斎幹縁疏

• 紙本墨書正親町天皇宸翰消息
• Letter written by Emperor Ogimachi on paper with monochrome ink

• 墨付けとんど（墨付け神事）
• Sumitsuke Tondo (The rite of Sumitsuke)

• 特に淡墨では差が出やすい。
• The effect tends to appear more readily specially in light ink painting.

• この墨の点描を米点と呼ぶ。
• These spots in ink are called Mi-style points.

• 墨作りは寒い冬に作業する。
• Making ink sticks is done during winter when it is cold.

• 水墨画の画家として名高い。
• He is famous as a painter of suibokuga (ink-wash painting).

• 絹本墨画淡彩鳳凰図　林良筆
• Ink and light color on silk by Rinryo depicting the Chinese phoenix

• 絹本墨画竜虎図 - 牧谿筆
• Ink on silk Ryuko zu (image of a dragon and a tiger) - Painted by Muxi

• 仏鑑禅師墨蹟 円爾号 2幅
• 2 writings of Bukkan zenji, Enni-go

• 紙本墨画達磨・豊干・布袋像
• Ink on paper portrait of Bodhidharma, Fenggan and Budai

• 紙本墨画竹林七賢図　16幅
• 16 ink on paper Chikurin-Shichiken-zu (images of the Seven Wise Men)

• 無明慧性墨蹟（重要文化財）
• Calligraphy by Wuming Huixing (Important Cultural Property)

• 重要文化財「紙本墨書楽書」
• Important Cultural Property - 'Shihon bokusho gakusho'

• 紙本墨画淡彩天橋立図　雪舟筆
• Shihon Bokuga Tansai Ama no Hashidatezu (View of Ama-no-hashidate, monochrome ink painting on paper) by SESSHU

• 紙本墨書光厳院宸翰仮名御消息
• Shihon Bokusho Kogon-in Shinkan Kana Onshosoku (Autograph letter of Kogon-in in kana characters, inked on paper)

• 水墨画・篆刻・彫刻に秀でた。
• He was superior in suibokuga (painting with India ink), tenkoku (carving using a special Chinese character, Tensho) and sculpture.

• いわゆる“お墨付き”のこと。
• Inka means the state of so-called 'osumi-tsuki' (with endorsement).

• 涙で墨が薄くなった意である。
• The color is used to express that the black color has changed because it has been diluted with tears.

• 墨色に艶や光や透明感を出す。
• Using the glue makes the ink black lustrous, brilliant and transparent.

• 紙本墨画弥勒菩薩画像集　1帖
• Sumi Ink on Paper Miroku Bosatsu's Pictures Collection - 1 Album

• 紙本墨画薬師十二神将像　1巻
• Sumi Ink on Paper Image of Yakushi Junishinsho – 1 Scroll

• 紙本墨画竹図（狭屋之間）4面
• Ink on paper images of bamboo (narrow room) - 4 sheets

• 絹本墨画竜虎図 - 伝牧谿筆
• Ink on silk Ryuko zu (image of a dragon and a tiger) - Attributed to Muxi

• 紙本墨画芙蓉図 - 伝牧谿筆
• Ink on paper Fuyo zu (image of confederate roses) - Attributed to Muxi

• 紙本墨画瀟湘八景図 六曲屏風
• Ink on paper images of the Eight Views of Xiao-Xiang (six-panel screen)

• 南宋時代の水墨淡彩の風景画。
• A Chinese Southern Song period landscape using ink and light color on paper.

• 絹本墨画江山漁舟図　蒋三松筆
• Ink on silk image of a fishing boat against a river and mountains painted by Sansho SHO

• 紙本墨画山水図（楼閣山水図）
• Monochrome ink painting on paper of landscape (Rokaku Sansui-zu)

• 紙本墨画松鶴図　8面（下間）
• 8 monochrome ink paintings on paper Shokaku-zu (images of pine trees and cranes) (lower room)

• 紙本墨画蓮池水禽図　俵屋宗達筆
• Shihon Bokuga Renchi Suikinzu (Water Fowl in the Lotus Pond, monochrome ink painting on paper) by Sotatsu TAWARAYA

• 白描絵料紙墨書金光明経　巻第三
• Hakubyoeryoshi Bokusho Konkomyokyo (Konkomyokyo Sutra on Paper Decorated with Line Drawings：Volume 3)

• 金泥絵料紙墨書孝明天皇宸翰御製
• Kindei Eryoshi Bokusho Komei Tenno Shinkan Gyosei (autographed writing of poems and letters in Indian ink on gold painted paper by Emperor Komei)

• 紙本墨書花園天皇宸翰達磨像御賛
• Shihon Bokusho Hanazono Tenno Shinkan Daruma-zo Gosan (Compliments to the image of Bodhidharma, hand-inked on paper by Emperor Hanazono)

• この状態を「墨が散る」という。
• This condition is called the 'scattering of sumi.'

• この様な硯の成立は墨より遅い。
• The history of this type of suzuri is later than that of sumi.

• 次に型からはずした墨を乾かす。
• Then remove the ink from the mold, and dry it.

• 1975年墨田川造船にて竣工。
• It was completed in 1975 at Sumida-gawa River Shipyard.

• 画帖『米寿墨戯』（1923年）
• Book of paintings, Beiju Bokugi (1923)

• バス停は墨染駅から南へ徒歩3分
• This bus stop is just a three-minute walk south of Sumizome Station.

• バス停は墨染駅から西へ徒歩5分
• This bus stop is a five-minute walk west from Sumizome Station.

• 墨染駅 - 藤森駅 - 深草駅
• Sumizome Station - Fujinomori Station - Fukakusa Station

• 紺紙墨書法華経 - 近衞家熈筆
• Ink on dark blue paper Lotus Sutra - Painted by Iehiro KONOE

• 虎関師錬墨蹟 進学解残本 4幅
• 4 writings of Kokan Shiren - Shingaku kaizampon

• 紙本墨画白衣（びゃくえ）観音像
• Monochrome ink painting on paper of portrait of the white-robed Kannon

• 室町水墨画の先駆者・如拙の作。
• Painted by Muromachi period pioneering India-ink painter Josetsu.

• 紙本墨画禅機図 16面（室中）
• 16 monochrome ink paintings on paper Zenki-zu (images of acts which led to enlightenment) (main central room)

• 密庵咸傑墨蹟（附　千利休消息）
• Mittan Kanketsu Bokuseki (Designation Includes a Letter Written by SEN no Rikyu)

• 重要文化財「紙本墨書楽所補任」
• Important Cultural Property - 'Shihon bokusho gakuso bunin'

• 紙本墨書慶長十九年五山衆試文稿
• Shihon Bokusho Keicho Jukunen Gozanshu Shibunko

• 芸阿弥 （唐物、茶道、水墨画）
• Geiami (karamono, tea ceremony, ink painting)

• [墨ぬり---------]
• [blacked out---------]

• 紙本墨画妙法尼像 伝長谷川等伯筆
• Monochrome ink painting on paper of a portrait of Myoho nun attributed to Tohaku HASEGAWA

• 紙本墨書花園天皇宸翰如来寿量品偈
• Shihon Bokusho Hanazono Tenno Shinkan Nyorai Juryo-bon Ge (Verses praising Buddha's eternal life, hand-inked on paper by Emperor Hanazono)

• 紙本墨書花園天皇宸翰阿弥陀経残巻
• Shihon Bokusho Hanazono Tenno Shinkan Amida-kyo Zankan (A segment of Amida Sutra, hand-inked on paper by Emperor Hanazono)

• 墨が固形の場合、水も必要となる。
• Water is also required if Sumi is solid.

• 中林梧竹遺墨展（東京府美術館）。
• The exhibition of calligraphic works Gochiku NAKABAYASHI left was held (at Tokyo Prefectural Art Museum).

• 梔子に小禽図（墨画） - 個人蔵
• Ink painting of a small bird on Cape jasmine tree - private collection

• 墓所：東京都墨田区向島の弘福寺。
• Grave: Kofuku-ji Temple in Mukojima, Sumida Ward, Tokyo.

• 丹波橋駅 - 墨染駅 - 藤森駅
• Tambabashi Station - Sumizome Station - Fujinomori Station

• 紙本墨画別尊雑記（図像入）57巻
• Sumi Ink on Paper Besson Zakki (with icons) – 57 Scrolls

• 紙本墨画山水図　絶海中津の賛あり
• Color on paper inscribed by Zekkai Chushin depicting mountains and water

• 入れ墨によって皮膚に作られる模様
• a design on the skin made by tattooing

• Campaignbox 米墨戦争
• Campaignbox Mexican–American War

• 清拙正澄墨蹟 偈頌 附春屋宗園添状
• A geju calligraphy by Seisetsu Shocho with a soejo (a soejo: an added letter) by Shunoku Soen

• 相国寺の画僧周文に水墨画を学んだ。
• He studied India-ink painting with Shubun, an artist-monk of Shokoku-ji Temple.

• 絹本墨画中文殊左右寒山拾得図　3幅
• Three scrolls of monochrome ink painting on silk of the figure of Manjusri at the center with Han-shan and Shi-de on the both sides

• また、液体として墨汁も多用される。
• Moreover, Bokuju is also widely used as liquid sumi.

• 雪舟の「破墨山水図」が著名である。
• A famous example is 'Haboku-sansui-zu' by Sesshu.

• 「墨龍」 身延山久遠寺大本堂天井画
• 'Bokuryu' (Dragon in Ink) Minobusan Kuon-ji Temple Main Hall Ceiling Painting

• 『米庵墨談』など多数の著述がある。
• Beian wrote a number of books including 'Beian Bokudan' (literally, Beian's Ink Talk).

• 水墨画家・工芸家としても知られる。
• He is quite famous as a master of ink-wash painting and crafts as well.

• 墨染発電所(琵琶湖疏水の項目参照)
• The Sumizome power plant (refer to the Lake Biwa canal)

• 南浦紹明（なんぽじょうみょう）墨蹟
• Calligraphy written by Nanpo Jomyo

• 紙本墨画画商山四皓図　8面（上間）
• 8 monochrome ink paintings on paper Shozan Shiko-zu (images of the Four Sages of Mount Shang) (upper room)

• 紙本墨画栗図・柿図　2幅　伝牧谿筆
• 2 monochrome ink paintings on paper of chestnut and persimmon trees attributed to Mokkei

• 南浦紹明墨蹟　法語（徳治二祀季秋）
• Calligraphy by Nanbo Shomyo; Buddhist sermon (Tokuji Nishi Kishu)

• 紙本墨画山水図 珠光筆（重要美術品）
• Shihonbokuga Sansui-zu: A sansui (mountains and water) picture drawn on paper by Juko (Art treasures)

• 乾かす時間が短いと墨が散ってしまう。
• If the drying time is short, then the sumi will scatter.

• 固形墨には防腐剤の成分が含まれない。
• Solid sumi does not contain preservatives.

• これが鋒鋩であり、これで墨が磨れる。
• These particles are ho-bo for grinding sumi.

• 尾張国墨俣川の戦いで行家を撃破する。
• They defeated Yukiie in the Battle of Sunomata.

• 伏見桃山駅 - 丹波橋駅 - 墨染駅
• Fushimi-momoyama Station - Tanbabashi Station - Sumizome Station

• 紙本墨画鶏及秋海棠図（四之間）11面
• Ink on paper images of hens and hardy begonia (room 4) - 11 sheets

• 紙本墨書仏説教誡経 - 近衛家熙筆）
• Ink on paper Bussetsu Kyokaikyo (Buddhist sutra) - Written by Iehiro KONOE

• 「墨蹟」は禅宗高僧の筆跡を指す用語。
• The word 'bokuseki' means the writing of a Zen high monk.

• 一山一寧墨蹟　雪夜作（正和乙卯臘月）
• Writing of the monk Yishan Yining - Xue Ye Zuo (dated 1315)

• 紙本墨画波濤図　12幅 長谷川等伯筆
• 12 ink on paper images of Hato Zu (Waves) painted by Tohaku HASEGAWA

• 応永20 (1413）年作の水墨画。
• An ink painting done in 1413.

• 宗峰妙超墨蹟　法語（要決了死生云々）
• Calligraphy by Shuho Myocho; Buddhist sermon (Yoketsuryo Shisho Unnun)

• コウイカの墨から調整される茶色の顔料
• rich brown pigment prepared from the ink of cuttlefishes

• 大量に墨を使用する人には重宝している。
• They are appreciated by people who use large amounts of sumi.

• 墨染　1911年（明治44年？）、消滅
• Sumizomei: dissolved in c. 1911.

• 男子はみな顔や体に入れ墨を施している。
• All men were tattooed on their face and body.

• 墨書きはいずれも九代程乗のものである。
• Every Oban of this variety had the seal mark written in Indian ink by the 9th master Teijo.

• 後半はいわゆる平中墨塗譚を基調とする。
• The last part is inspired by so-called 'Suminuri Tale.'

• 最寄バス停：京都市交通局墨染または下町
• The bus stop nearest to the station: The Sumizome bus stop or the Shitamachi bus stop for buses of the Kyoto Municipal Transportation Bureau

• 墨染寺（上野岑雄が詠んだ墨色伝説の地。
• Bokusen-ji Temple (place of the Legend of Sumiiro (the legend that the color of the cherry blossoms turned into Sumiiro, light ink black, a poem composed by KAMITSUKE no Mineo))

• 紙本墨画芦鴨図　俵屋宗達筆（二面衝立）
• Sumi Ink on Paper Roko-zu - By Tawaraya Sotatsu (2-Sided Screen)

• 紙本墨画蘇悉地儀軌契印図（伝宗叡請来）
• Shoshitsuji Giki Geiin-zu, ink on paper (attributed to Shuei)

• 紙本墨画聖一国師像 伝明兆筆（岩上像）
• India-ink on paper portrait of Shoichi-kokushi attributed to Kitsuzan Mincho (Iwaue zo)

• 聖一国師墨蹟 遺偈 弘安三年十月十七日
• Writing of Shoichi-kokushi - Will dated the 17th day of the 10th month of the 3rd year of the Koan era (1280)

• 紙本墨画竹図　六曲屏風一双　円山応挙筆
• Monochrome ink painting on paper pair of six-panel folding screens of Bamboo Groves painted by Okyo MARUYAMA

• 溌墨（はつぼく）の具合も至極よろしい、
• The ink-cake grates smoothly on it.

• 石墨とダイヤモンドは炭素の同素体である
• graphite and diamond are allotropes of carbon

• 大燈国師（宗峰妙超）墨蹟 偈頌（げじゅ）
• Geju (words praising Buddha) calligraphy: by Daitoukokushi (Shuho Myocho)

• この時代には他にも多くの水墨画家がいた。
• In this age there were many other painters of Suiboku-ga.

• 朱墨、青墨、紫墨、茶墨などの表現がある。
• There are expressions such as red ink, seiboku (blue ink), purple ink and brown ink.

• 墨を練る技術以外に、墨の形が重要となる。
• Besides the technique to knead sumi, the shape of sumi is also important.

• そして鋒鋩が鋭く強いほど墨は早く磨れる。
• The more sharpen ho-bo, the more sumi can be ground fast.

• 穂先に墨が残らないようによく水洗いする。
• Fude must be washed well in order to ensure that the Chinese ink does not remain at the top of the brush.

• 文部省の「推薦映画」のお墨付きを受けた。
• It received the authoritative assurance of Ministry of Education as a 'recommended film.'

• （石墨は漢代を最後に使われなくなった）。
• (Graphite was not used after Han period.)

• よって、この時代の古墨は特に珍重される。
• Therefore, the ink sticks in this period are especially prized.

• 墨引きは旧東京市の15区とほぼ一致する。
• The shubiki delineated areas roughly match with the fifteen wards of Old Tokyo.

• 絵画は水墨画を好んで描き佳作と評される。
• He enjoyed 'suibokuga' ink and wash painting and his works are highly regarded.

• 墨竹図に巧みで文人文房趣味を持っていた。
• He was good at painting bamboos with a brush using Indian ink, and had interests in literary persons and studies.

• 現代水墨画グループ「カオス会」にて活動。
• She is a part of 'the Chaotic Association,' a group of contemporary suibokuga painters.

• 絹本墨書尊勝陀羅尼梵字経（伝不空三蔵筆）
• Sumi Ink on Silk Sonsho Darani Sutra in Sanskrit (written by Fukusanzo)

• 紙本墨画松鶴図（松鶴之間）（二之間）8面
• Ink on paper images of pine trees and cranes (pine and crane room) (room 2) - 8 sheets

• 関山慧玄墨蹟 授宗弼証状 延文元年仲春日
• Writing of Kanzan Egen - Ju Sohitsu Shojo dated the 2nd month of the lunar calendar 1356

• 絹本墨画聖僧文殊像　南禅比丘正澄の賛あり
• Ink on silk image of Shoso Monju inscribed by bhikkhu Shocho of Nanzen

• 東陵永璵墨蹟（「璵」は「王扁」に「與」）
• Toryoeiyo-bokuseki (Writings of Dongling Yongyu)

• 紙本墨書瑜伽師地論 二巻－奈良時代の作。
• Two volumes of Shihon Bokusho Yugashiji Ron: A work in the Nara Period.

• 紙本墨書叡尊願文－東京国立博物館に寄託。
• Shihon Bokusho Eison Ganmon (prayer of Eison inked on paper) - Deposited to Tokyo National Museum.

• 栄西自筆唐墨筆献上状 建永二年六月廿一日
• Certificate of the present of Chinese calligraphy ink brushes written by Eisai: dated July 24, 1207

• 英訳の注[21] 「片手に持った白墨」
• 21 'With chalk in hand,' 'col gesso.'
• (*) 'With chalk in hand,' 'col gesso.'

• 「大市」と墨守された土器も検出されている。
• Some pieces of earthenware written as 'Oichi' in black sumi ink were also discovered.

• 紙本墨画牛図 2幅　俵屋宗達筆　烏丸光広賛
• Two paper scrolls of monochrome ink painting on paper of oxen, painted by Sotatsu TAWARAYA and inscribed by Mitsuhiro KARASUMARU.

• ほぼ単色の墨絵で、僅かに唇に朱色を点した。
• The pictures, which are classified as Japanese ink painting, are monochromatic except the parts where lips were painted in Shu-iro (Empire red).

• 危険を感じると黒い墨を吐き、姿をくらます。
• When it senses danger, it spews black ink to conceal itself.

• 墨は漢代には丸めた形に作られ、墨丸という。
• By the Han Dynasty, sumi was made into a round shape, called bokugan (round inkstick).

• 油煙墨の製造が始まったのは鎌倉時代である。
• Production of inksticks made with lamp soot began during the Kamakura period.

• こうした墨は、「古墨」と呼んで珍重される。
• Such sumi is called 'koboku' (old inkstick) and they are highly prized.

• 墨を磨る為に表面に細かく目を立たせている。
• The surface is minutely toothed so that sumi stick can be ground on it.

• また磨った墨を硯の上に放置してはいけない。
• Also, sumi, which has just grinded must not be left on the suzuri.

• 和様の完成と墨跡の勃興に始まる書の二極分化
• The Japanese style became established, and calligraphy in Japan became divided into the Chinese and the Japanese styles, starting with bokuseki (the Chinese style brought by Zen priests from China) that rapidly became popular.

• 墨絵の筆に夜の富士、余所目にそれと影暗き、
• Mt. Fuji looks like an India ink painting in the night, with its clear shadow in the dark.

• （昭和4年合併）墨染横、七軒、南新→墨染町
• (Merged in 1929) Sumizomeyoko, Shichiken, Nanshin => Sumizome-cho

• 特に東京都墨田区の本所 (墨田区)が著名。
• Especially, Honjo in Sumida Ward, Tokyo Prefecture are famous for that.

• ニカワを固着材として用いたものに墨がある。
• Sumi (cake ink) is made from smoke black solidified with glue.

• 六重目、十二畳敷、墨絵ニ梅之御絵を被遊候。
• In the sixth story from the top, there was a twelve-mat Japanese room with a Japanese ink painting of plum trees.

• 画像-2 ：『鯉図』　肉筆画（紙本墨画）。
• Picture 2: 'The painting of carp,' an original drawing (monochrome ink painting on paper).

• 府立七中（現・東京都立墨田川高等学校）卒。
• He graduated from Tokyo Prefectural Seventh Junior High-school (present Tokyo Metropolitan Sumidagawa High School).

• 紙本墨画葡萄図（葡萄之間）（一之間）15面
• Ink on paper images of grapes (grape room) (room 1) - 15 sheets

• 紙本墨画芭蕉図（芭蕉之間）（三之間）12面
• Ink on paper images of Japanese bananas (Japanese banana room) (room 3) - 12 sheets

• 紙本墨画猿猴竹林図　長谷川等伯筆　六曲屏風
• Ink on paper six-panel screen by Tohaku HASEGAWA depicting monkeys and a bamboo forest

• 紙本墨画瀟湘八景図 6幅（室中、相阿弥筆）
• Monochrome ink painting on paper 'Sho Sho Hakkei-zu' (images of the eight designated scenes of the area around the confluence of the Xiao and Xiang rivers and Lake Dongting in China's Hunan province) six panels (located in the central room, the work of Soami)

• 紙本墨画溪陰小築図（けいいんしょうちくず）
• Monochrome ink painting on paper of a cottage by a mountain stream

• 能阿弥 （唐物、茶道、水墨画、連歌、華道）
• Noami (karamono (things from China), tea ceremony, ink painting, renga (linked verse), flower arrangement)

• 相阿弥 （唐物、茶道、水墨画、華道、庭師）
• Soami (karamono, tea ceremony, ink painting, flower arrangement, landscape)

• 図書寮の造筆手・造墨手や大蔵省の典履など。
• Saigi no Chojo included Zohitsushu and Zobokushu at Zushiryo, and Tenri at Okurasho.

• 墨を染料として使うと面白い模様ができます。
• India ink produces an interesting pattern when used as a dye.

• ――巻紙を睨めて、筆をしめして、墨を磨って
• --stared at the letter-paper, wetted the writing brush, grated the ink-cake

• それは白墨でいたずら画きしたものでしたが、
• They were scrawled with chalk.

• 中袋の文字は、薄墨（うすずみ）で書くとよい。
• It is recommended that light Japanese black ink be used.

• 製造後間もない固形墨は、水分の含有量が多い。
• Fresh solid sumi contains a substantial amount of water.

• 墨型彫刻師が木型を製作し、多様な形態がある。
• A sumi mold engraver creates a wooden mold, and there are many different shapes.

• 墨に含まれる膠は、動物性のタンパク質である。
• The animal glue contained in sumi is animal protein.

• これは容器内の墨液が腐るのを防ぐためである。
• This is to prevent the liquid sumi in the container from spoiling.

• 硯で墨を磨っただけでは、好みの墨にならない。
• A desired sumi ink cannot be obtained solely by grinding sumi against a suzuri (ink stone).

• また、70余点におよぶ鳴鶴遺墨展を併催した。
• In addition, an exhibition to show seventy plus calligraphic works that Meikaku left was held as well in the same location.

• 練り上げた墨を木型に入れて形を整え圧搾する。
• Put the kneaded chunk into a wooden mold, pull it into shape and compress it.

• 逃げた吹負は置始菟の騎兵隊に墨坂で出会った。
• On the way of the withdrawal, Fukei met the cavalry led by OKISOME no Usagi at Sumisaka.

• 水墨画については二天の号を用いたものが多い。
• As for ink-wash painting, he seems to have usually signed as Niten.

• 京阪墨染駅には、バス路線は乗り入れていない。
• No route bus service is available at Keihan Sumizome Station.

• 紙本墨画柏鷹芦鷺図 - 曾我二直庵筆 六曲屏
• Ink on paper Hakuo Ashi Sagi zu - Six folding blind painted by Nichokuan SOGA

• 絹本墨画淡彩釈迦三尊図（京都国立博物館寄託）
• Monochrome ink light color painting on silk of Shaka triad (deposited at Kyoto National Museum)

• 紙本墨画幽竹枯槎図　（中国・金時代）　王庭筠筆
• Shihon Bokuga Yuchiku Kosa Zu (a picture of Yuchiku Kosa monochrome ink painting on paper) (the Jin period of China), by Wang Tingyun

• 無学祖元 墨蹟「与長楽寺一翁偈語」（相国寺蔵）
• Sogen MUGAKU, Calligraphy, 'Poem to Ichio Ingo of Choraku-ji' (stored in Shokoku-ji Temple)

• 約2年間中国で本格的な水墨画に触れ、研究した。
• He familiarized himself with authentic Chinese ink painting and studied it for about 2 years.

• 神輿が練り歩き、参加者や見物人の顔に墨を塗る。
• A portable shrine being carried through the street, sumi (black ink) is put on visitors' and participants' faces.

• 赤堀城跡のものは「三」「嶋」と墨書されている。
• The monko-fuda's excavated from the site of Akahori-jo Castle have the kanji's '三' (lit. three) and '嶋' (lit. island) written on them in Indian ink.

• 墨磨機と呼ばれる墨を磨る機械が市販されている。
• Machines that grind sumi called sumi grinding machines are sold commercially.

• 墨を磨る、或いは墨汁をためておく役割を果たす。
• Suzuri serves the purpose when rubbing the ink stick back and forth or keeping Bokuju (black liquid ink).

• 松煙墨が古墨になると澄んだ美しい青墨色を生む。
• When the ink stick made from burnt pine becomes old, it produces the beautiful bluish black color.

• 墨は出来上がってから休むことなく変化を続ける。
• The quality of ink stick continues to change even after its completion.

• 牧谿　観音猿鶴図(大徳寺)、絹本水墨、南宋時代
• Mokkei, Kannon Enkaku zu (Daitoku-ji Temple), ink painting on silk, the Southern Sung period

• 屯所は江戸の本所（東京都墨田区）に設置された。
• They were quartered at Honjo in Edo (the present-day Sumida Ward, Tokyo).

• 雪舟：「山水長巻」「秋冬山水図」「破墨山水図」
• Sesshu: 'Sansui-Chokan' (Long Scroll of Landscapes), 'Shuto-Sansui-zu' (Landscapes of Autumn and Winter), and 'Haboku-Sansui-zu' (Landscapes painted with splashed-ink technique)

• 墨書は後藤四代祐徳および五代徳乗のものである。
• The ink scripts are recognized to be of Yutoku GOTO (the fourth craftsman of the Goto family) and Tokujo GOTO (the fifth craftsman).

• 紙本墨画淡彩慧可断臂図雪舟筆 （愛知・斉年寺）
• The painting of Huike Offering his Severed Arm to Bodhidharma, in ink, by Sesshu (Sainen-ji Temple in Aichi)

• 維摩図（ゆいまず） 墨画　個人蔵（重要文化財）
• Yuima-zu (picture of a Buddhist layman named Yuima, ink drawing), private collection (Important Cultural Property)

• 画像-19 ：『布袋図』　肉筆画（紙本墨画）。
• Picture 19: 'Hotei-zu (the God of Contentment),' an original drawing (monochrome ink painting on paper).

• 後に墨拓としてこれを刊行しその跋を書いている。
• Later he published it as bokutaku and wrote the batsu (a postscript).

• 廃藩置県後、東京に戻り向島 (墨田区)に住む。
• After Haihan-chiken (abolition of feudal domains and establishment of prefectures), he moved back to Tokyo and lived in Mukoujima, Sumida Ward.

• 画は水墨画を得意とし、書画の鑑定に精しかった。
• In paintings, he was good at ink-wash painting and skilled at appraisal of calligraphic works and paintings.

• 吉見公子（よしみ きみこ）は、日本の水墨画家。
• Kimiko YOSHIMI is a Japanese painter of suibokuga (ink-wash painting).

• 秀澄は大将軍として出陣して墨俣町に陣をしいた。
• Hidezumi led an army as a Daishogun at Sunomata Town.

• 宗峰妙超（大燈国師）墨蹟 遺偈 建武丁丑臘月日
• Writings of Shuho Myocho (Daito-kokushi) - A will dated 1337.

• 蘭渓道隆や一山一寧らの墨蹟が、その代表である。
• The works of Lanxi Daolong and Yishan Yining are representative of the style.

• 紙本墨画瀟湘八景図 16幅（室中、伝相阿弥筆）
• Monochrome ink painting on paper 'Sho Sho Hakkei-zu' 16 panels (located in the central room, believed to be the work attributed to Soami)

• 水墨画家として著名な周文が彩色を担当している。
• Shubun, a famous Suiboku painter, took charge of the coloring of the statue.

• いくつかはタニン樹皮と墨のための重要な源である
• some are important sources for tanbark and charcoal

• 紙本墨書後光厳院宸翰御消息・普光大幢国師諡号勅書
• Shihon Bokusho Gokogon-in Shinkan Onshosoku (autograph of Gokogon-in, inked on paper) and Fuko-Daido Kokushi Shigo Chokusho (imperial description on the posthumous title of Fuko Daido Kokushi, the most reverend priest)

• 初期の墨1色で摺ったものは「墨摺絵」と呼ばれる。
• Early-stage works printed in a single color with India ink were referred to as 'Sumizurie.'

• 長い年月を経て膠の枯れた固形墨を「古墨」という。
• Solid sumi where the animal glue has withered with time is called 'koboku.'

• 濃かったり膠の枯れた墨液では、墨の散りが激しい。
• In liquid sumi that's either thick or the animal glue has withered, there is an extensive scattering of sumi.

• 明清時代が製墨の頂点といわれ、以後悪化をたどる。
• It is said that the ink sticks produced during Ming and Qing period have the highest quality, and the quality deteriorated gradually afterwards.

• 巨椋池は古くから景勝地として文人墨客に愛された。
• Ogura-ike Pond has been favored by penmen and calligraphy/painting artists as a scenic area since ancient times.

• この条約締結後、1891年に日墨両国公使を交換。
• In 1891, Japan and Mexico exchanged their ministers after the conclusion of the treaty.

• これが墨絵や金屏風のことを指すのかどうかは不明。
• It is unclear whether it is indicating the Sumie (Ink painting) and the gilded folding screen.

• 文人墨客との交わりを好み、その庇護者ともなった。
• He favored interactions with writers and artists and became their patron.

• 紙本墨画花鳥図　16面 伝蛇足筆（方丈室中襖絵）
• 16 monochrome ink paintings on paper of flowers and birds attributed to Dasoku (sliding panel paintings in the inner room of the hojo)

• 紙本墨画淡彩楼閣山水図　六曲屏風一双　曾我蕭白筆
• 'Rokaku Sansui-zu' (Landscape of High Buildings) on a pair of six-panel folding screens, ink and light-colored painting on paper, painted by Shohaku SOGA

• 絹本墨画秋山肅寺図　（中国・北宋時代）　伝許道寧筆
• Kenpon Bokuga Shuzan Shukuji Zu (a picture of Shuzan Shuku-ji Temple monochrome ink painting on silk) (the Beisong period of China), by Xu Daoning

• 紙本墨画淡彩鳶鴉図（とびからすず）2幅 与謝蕪村筆
• A Black Kite (a bird) and a Crow, Monochrome Light Ink Painting on Paper (a pair of scrolls) by Yosa BUSON

• 室町時代は日本水墨画の全盛期と言ってよいであろう。
• It could be said that Suiboku-ga of Japan was in full flower during the Muromachi Period.

• 青みがかった色のものは青墨（せいぼく）と呼ばれる。
• Those that have a bluish hue are called seiboku (blue ink).

• 中国では紙・筆・墨と共に文房四宝のひとつとされる。
• In China, together with the paper, ink brush and ink stick, the suzuri is regarded as one of the Four Treasures of the Study.

• しかし、技法的には「溌墨山水」だという意見もある。
• However, there is an opinion that the technique used in the 'Haboku-sansui-zu' is 'hatsuboku-sansui' (splashed-ink landscape painting).

• 固形の墨があらわれたのは中国漢に入ってからである。
• It was in Han Dynasty in China that the solid stick type appeared.

• 文房趣味の代表格として筆・墨・硯・紙が挙げられる。
• A brush, black ink, ink stone and paper were representative of Bunbo Shumi.

• 東京都墨田区、埼玉県春日部市、兵庫県芦屋市、斑鳩町
• Sumida Ward, Tokyo; Kasukabe City, Saitama Prefecture; Ashiya City and Ikaruga-cho, Hyogo Prefecture

• 画像-17 ：『分福茶釜図』　肉筆画（紙本墨画）。
• Picture 17: 'The painting of Bunbuku chagama (The Magic Teakettle),' an original drawing (monochrome ink painting on paper).

• 無学祖元墨蹟 与長楽寺一翁偈語　弘安二年十一月一日
• Bokuseki (black ink brush writing by Zen priests) created by Mugaku Sogen entitled Choraku-ji Ichio ni Atauru no Gego (November 1, 1279)

• 虚堂智愚墨蹟（きどうちぐぼくせき） - 南宋時代。
• Xutang Zhiyu bokseki - Southern Song period

• 宗峰妙超（大燈国師）墨蹟 投機偈 南浦紹明加印証語
• Writings of Shuho Myocho (Daito-kokushi) - Speculative gatha, sealed and certified by Nampo Jomin

• 紙本墨画真山水図　8面 伝蛇足筆（方丈西の間襖絵）
• 8 monochrome ink paintings on paper of landscape attributed to Dasoku (sliding panel paintings in the western room of the hojo)

• 墨画仏像（麻布菩薩）（すみえのぶつぞう、まふぼさつ）
• Sumie no Butsuzo (Mafu Bosatsu)

• 破墨山水図（東京国立博物館、1495年（明応4年））
• Broken Ink Landscape (Tokyo National Museum, painted in 1495)

• 眉を剃る、または抜いたあと、細い弓形の眉を墨で描く。
• After shaving or pulling out eyebrows, thin arc-shaped eyebrows were drawn with ink.

• 同じ墨を吐く動物として、イカと対比されることが多い。
• It is often compared to squid as an animal that similarly spews ink clouds.

• 液体の墨はアモルファス炭素の分散したコロイドである。
• Liquid sumi ink is a colloidal suspension of amorphous carbon.

• 古代中国の甲骨文に墨書や朱墨のあとが発見されている。
• Remnants of ink writing and red ink are found on the oracle bones of ancient China.

• それを防ぐために市販の墨液には防腐剤が含まれている。
• In order to prevent that, commercially available bokuju contains preservatives.

• こうなると墨が磨れないので、硯用の砥石で硯面をとぐ。
• When sumi stick is unable to be ground on it, suzuri must be sharpened on a special whetstone.

• この禅僧のもたらした中国書法による筆跡を墨跡と呼ぶ。
• The calligraphic works based on the Chinese calligraphic style brought by these Zen priests are called bokuseki.

• ばらばらの煤の粒子を膠の粘性でまとめて墨の形を作る。
• The stickiness of the glue makes scattered soot particles into one, and makes it into the shape of an ink stick.

• 原則は墨一色であるが、唇と頬の部分に朱がさしてある。
• The portraits are painted chiefly in black ink, except for the lips and cheeks painted in red ink.

• 場所は現在の岐阜県大垣市墨俣地区（旧安八郡墨俣町）。
• It was situated in what is presently know as the Sunomata area in Ogaki City, Gifu Prefecture (old Sunomata-cho, Anhachi-gun).

• 日本水墨画の最高傑作であり、日本美術を代表する名品。
• It is the finest Japanese ink painting and is a masterpiece that is representative of Japanese art.

• 先哲の書法を学ぶため、書帖や墨跡を集め臨模に努めた。
• To study the art of calligraphy of philosophers of the past, Tosai collected their notes and handwriting trying to imitate them.

• 絹本墨画淡彩観音猿鶴図－南宋時代、牧谿（もっけい）筆
• Ink and light color on silk Kannon Enkaku zu (image of the white-robed Guanyin) - Southern Song period, painted by Muxi

• 紙本墨画草山水図　5面　伝蛇足筆（方丈書院の間襖絵）
• 5 monochrome ink paintings on paper of flowers and landscapes attributed to Dasoku (sliding panel paintings in the shoin room of the hojo)

• 三囲神社は、東京都墨田区向島 (墨田区)にある神社。
• Mikakoi-jinja Shrine is a shrine located in Mukojima (Sumida Ward) in Sumida Ward, Tokyo.

• 小口を切り、墨を引き、忌斧を打ち入れる所作をおこなう。
• Some ritual procedures are then conducted: the cutting of a small piece out of the wood, the inking of a line on the wood, and the hitting of the wood with a hatchet.

• 墨書されたものも多く、漆を容れた壺や坏も出土している。
• On many of them, something was written in black ink, and the pots or tsuki (a kind of bowls) containing lacquer have also been unearthed.

• 2. 紙本墨画松鷹図 2幅 雪村筆（東京国立博物館蔵）
• 2. Monochrome ink painting on paper, Soo-zu (pine tree and a hawk): 2 scroll, drawn by Sesson (a property of Tokyo National Museum).

• 紙本墨書永明智覚寿禅師垂誡　2幅（東京国立博物館寄託）
• 紙本墨書永明智覚寿禅師垂誡 2幅 (entrusted to Tokyo National Museum)

• 長良川河畔にて平重衡らの軍と対峙する（墨俣川の戦い）。
• At the edge of the Nagara-gawa River, they faced the army of TAIRA no Shigehira and others (the Battle of Sunomatagawa).

• 雪舟（1420年-1506年）：日本風の水墨画を大成。
• Sesshu (1420-1506): established Suiboku-ga in Japanese style

• 慶長笹書大判：墨書きの花押が笹の葉のような形に見える。
• Keicho-sasagaki-Oban: 'kao' (written seal mark) in India ink looks like the shape of bamboo leaf.

• 若水で墨を摺り、恵方に向かって詩歌を書く習慣があった。
• There used to be a custom of creating black ink out of an inkstick using wakamizu (the first water drawn from the well on New Year's Day) and writing Chinese and Japanese poems by facing the direction of eho (a favorable or lucky direction).

• 朱墨の原料は、鉱産物として天然に採掘される辰砂である。
• The ingredient of the red ink is cinnabar, which is a naturally occurring mineral that is mined.

• そのため墨は一定以上の気温下で使用しなければならない。
• Therefore, sumi needs to be used at temperatures above a certain level.

• 書家は好みの墨（磨墨液）を作るために各々研究している。
• Each calligrapher studies how to make his or her sumi (surusumijiru) according to their own taste.

• 古代には乳鉢の様なもので墨を砥いで粉末状にして用いた。
• In ancient times, sumi was ground into powder in a mortar like before use.

• 品質も非常に優れた墨が作られ、造墨の最頂点といわれる。
• The quality of the ink sticks in those days was excellent, and this period is called the peak of making ink sticks.

• 作品は大画面の水墨画が多いが、金碧濃彩の屏風絵もある。
• His works are mostly water ink on huge screens, and there are also some folding screen paintings featuring strong colors, particularly mineral pigments such as ultramarine and copper green that are applied thickly to a gold or silver foil background.

• 大嘗会屏風の筆者となり、多くの墨跡を今日に伝えている。
• Sadanobu became a calligraphy artist of folding screens used during the Daijoe (court banquets held during the first harvest festival), and many of his works remain to this date.

• 紙本墨画竹石白鶴図 伝狩野正信筆（京都国立博物館寄託）
• Monochrome ink painting on paper of bamboo, stone and crane attributed to Masanobu KANO (deposited at Kyoto National Museum)

• 鳥居清信の時代になると墨摺絵に筆で着色したものが現れる。
• When the days of Kiyonobu TORII began, there appeared a type of Sumizurie colored with ink brush.

• 「翰墨城」「藻塩草」「見ぬ世の友」「大手鏡」などは国宝。
• Kanbokujo' (Castle of Brush and Ink Album), 'Moshiogusa Album of Exemplary Calligraphy,' 'Companions of Past Ages,' and 'Otekagami' are national treasures.

• 関東の水墨画のなかでも極めて独自性が高い画風を確立した。
• Of all the ink-wash paintings in the Kanto region, Sesson established an extremely unique painting style.

• 逆に高品質な墨液は、固形墨を磨ったものにも見劣りしない。
• On the other hand, high-quality liquid sumi stands up to those made by grinding solid sumi.

• 書いた時に、墨を紙、板、布などに凝集、浸透、付着させる。
• The effects of the glue is to agglutinate, permeate and attach the ink on paper, wooden board and cloth.

• 古い遺品は京都大学に儀式次第を墨書した中世のものが残る。
• An old fan from the medieval (Kamakura and Muromachi) period is left in the collection of the Kyoto University on which the program of a ceremony was written in black ink.

• 水墨山水図（京都・ 妙心寺隣華院）重要文化財　1599年
• Suiboku Sansui-zu (landscape painting in water ink) (Rinka-in subtemple of Myoshin-ji Temple, Kyoto) Important Cultural Property 1599

• また淡墨を使って描く「にじみ鷹」の技法を編み出している。
• He also devised the 'nijimi-taka' technique of painting using watery sumi (black ink).

• 百川は句集『本朝八僊集』に水墨による草画を挿図している。
• Hyakusen inserted Soga (a simple ink painting or light-colored drawing with rough strokes of a brush) painted by water ink into 'Honcho hassen shu' which was a collection of Haiku.

• その際、御用絵師として手がけた水墨画の多くが焼却された。
• On this occasion, many of his ink-wash paintings produced during his goyo eshi career were incinerated.

• 附指定の利休の添状は墨蹟とともに伝来してきたものである。
• The accompanying letter by Rikyu included within the designation arrived at the temple along with the bokuseki.

• 1. 紙本墨画秋冬山水図 2幅 雪舟筆（東京国立博物館蔵）
• 1. Monochrome ink painting on paper, Shuto Sansui-zu (landscape in autumn and winter): 2 scrolls, drawn by Sesshu (a property of Tokyo National Museum).

• 紙本墨書勧進帳奉加帳 １通・１冊綾部市指定文化財、室町時代
• A temple solicitation book and a subscription list, on paper with monochrome ink, a cultural property designated by Ayabe City, were produced in the Muromachi period.

• 門下からは雪村友梅ら五山文学を代表する文人墨客を輩出した。
• Many of his followers, including Sesson Yubai, became major writers and artists of Gozan Bungaku (literally, Five Mountain Literature).

• 明代には花卉、果物、野菜、魚などを描く水墨雑画も描かれた。
• In Ming, Suiboku-Zatsu-ga, on which Kaki (flowering plants), fruits, vegetables, and fish were also painted.

• 初期の浮世絵は肉筆画と木版の単色刷り（墨摺絵）が主である。
• Ukiyoe in the early stages mainly consisted of original drawings and single-color woodblock printing (Sumizurie [pictures printed in black India ink lines]).
• Ukiyoe in the early stages were mainly original drawings and single-color woodblock prints (Sumizurie).

• したがって、重厚な黒味から青灰色に至るまで墨色に幅がある。
• Therefore, there is a wide range of ink color from dense black to bluish grey.

• 宿墨（古い墨）を残しておくと新しく磨った墨も腐ってしまう。
• Shukuzumi (old sumi) causes the deterioration of the fresh sumi, which is newly grinded.

• 図書寮の第二の職掌は紙・墨・筆などの製造を行うことである。
• The second official duty of Zushoryo was to produce paper, ink, ink brush and so on.

• 画風は大和絵風を基調にしつつ、晩年には水墨画の作品もある。
• His style was based on Yamato-e, classical Japanese style painting, but he turned to suibokuga, water ink painting, in his later life.

• 竹梅図　二曲屏風一隻　墨画　東京国立博物館蔵（重要文化財）
• Chikubai-zu (picture of bamboo and plum, one of two panel screen, ink drawing), Tokyo National Museum (Important Cultural Property)

• 長寿であり歌道家であったため、おびただしい数の遺墨が残る。
• Having a long life and being a poet, he left a large number of calligraphy.

• 書道家・墨絵画家としては雅号の「秀麗」のみで活動している。
• She uses only 'Shurei,' as her Gago (pseudonym) in her activities as calligrapher and sumi painter.

• 1934年（昭和9年）の修理時、多くの墨書銘が確認された。
• At the restoration in 1934, many bokushomei (ink inscriptions) were found.

• 3. 絹本墨画雪景山水図 朱端筆 明時代（東京国立博物館蔵）
• 3. Monochrome ink painting on silk, Sekkei Sansui-zu (landscape with snow): Drawn by Shutan in Ming Dynasty (a property of Tokyo National Museum).

• また文人画風の墨画も得意とし蘭をはじめ四君子を好んで描いた。
• He was also skilled at painting with India ink in a manner similar to bunjin-ga (a style of painting that originated in China, in which intellectuals such as writers and other non-professional would try their hand), and he liked painting subjects ranging from orchids to Shikunshi (four plants with high virtue, namely orchid, bamboo, ume plum tree and chrysanthemum).

• また、禅宗の普及に伴い、禅宗的故事人物画が水墨で制作された。
• With the prevalence of the Zen sect, paintings depicting Zen history and historical person were painted in ink.

• その学風は保守的で旧説を覆すことなく章句訓詁の学を墨守した。
• Their method of learning was conservative, never revoking older theories, and adhering to the study on Confucian Classics where the literature is divided into phrases, chapters and sections and their meanings or abstracts are lectured and explained, and the interpretation learning of old words.

• 年月が経って乾燥した墨は、膠の分解もすすむためにのびが良い。
• When sumi gets old and dry, the animal glue decomposes, and therefore the ink flows better.

• そのため、特に淡墨の作品では不可欠であり、高値で取引される。
• Therefore, it is indispensable, especially in works of light ink painting, and it is expensive.

• 水墨画の技法として、元 (王朝)時代以降広く使用されている。
• It has been widely used as a technique of ink-wash painting since the period of Yuan Dynasty.

• 墨はスス（スス）と膠が主成分であるが、少量の香料も配合する。
• The main ingredients are soot and glue with a little perfume.

• 墨の大小によって、10日～1ヶ月あまりでこの灰乾燥は終わる。
• This drying process continues for from ten days to one month, depending the size of the ink stick.

• しかしそこに薄墨と名乗る遊女が現れ、関兵衛をくどきはじめる。
• However, a courtesan appears who calls herself Usuzumi and she starts trying to convince Sekibe.

• 明治42年当時の漁場は、美濃市州原から大垣市墨俣までだった。
• At the time of 1909, a fishing ground was the area from Suhara, Mino City to Sunomata, Ogaki City.

• 『紙本水墨寒山拾得図』（重要文化財）高山寺（和歌山県田辺市）
• 'Shihon Suiboku Kanzan Jittoku-zu' (Kanzan and Jittoku, ink on paper)(important cultural property) Kozan-ji temple (Tanabe City, Wakayama Prefecture)

• 無準師範墨蹟（円爾印可状）（絹本）－南宋時代1237年の筆。
• Wuzhun Shifan bokuseki on silk (Enni's certification as a Zen Master) - Written in 1237 during the Southern Song period.

• 紙本墨画鳥獣人物戯画 4巻 － 甲乙丙丁の4巻からなる絵巻。
• Monochrome ink painting on paper 'Choju-Jinbutsu-Giga' (Scrolls of Frolicking Animals and Humans): A set of four picture scrolls.

• コークスと粘土の混合物を加熱することで石墨を生成する工業過程
• an industrial process for making graphite by heating a mixture of coke and clay

• 紙本墨画淡彩山水図（水色巒光図－すいしょくらんこうず）伝周文筆
• Sansui-zu (Suishoku ranko zu) (Hue of the Water, Light on the Peaks), monochrome ink and light-colored painting on paper, a painting attributed to Shubun

• その後遣明使に随行して中国（明）に渡って中国の水墨画を学んだ。
• Later he accompanied a mission to Ming Dynasty China and learned Chinese ink painting.

• 日本の初期水墨画は絵仏師や禅僧が中心となって制作が始められた。
• Early Suiboku-ga in Japan began to be produced mainly by Ebusshi (artist who drew Buddhist paintings and colors Buddhist statues) and Zen priests.

• しかし、朱墨以外は基本的に黒色で、色調の傾向を示す言葉である。
• However, all, except for the red ink, are basically black in color, and these expressions are used to describe the shades of color.

• 墨を磨ると良い香りがするが、これは香料が入っているためである。
• Making ink with ink stick produces nice smell, which is why the ink stick contains perfume.

• 灰乾燥が終わった墨は、干し柿のように藁（ワラ）でつるして干す。
• After the drying process, the ink stick is bound by straw and hung to dry like making dried persimmons.

• 硯の他に筆、墨、水滴、小刀、尺、暦その他をも納めることがある。
• A writing brush, ink, water, a short sword, a ruler and a calendar are sometimes kept in it together with suzuri.

• 精緻な山水画の他にも墨竹や菊・松などの題材を好んで画いている。
• In addition to elaborate Sansui-ga (Chinese-style landscape painting), bamboo, chrysanthemum, pine and so on were painted by him as his subject matter.

• 「墨蹟」は筆跡一般を指すとともに、特に禅宗高僧の書を指す用語。
• The word 'bokuseki' means writing, especially that of an eminent Zen monk.

• これは国宝の「密庵墨蹟」の掛け物を掛けるための専用の床である。
• This alcove was created especially in which to hang the National Treasure-designated 'Mitsuan Calligraphy' hanging scroll.

• 紙本金地墨画楼閣山水図六曲屏風（京都市指定有形文化財）狩野山楽
• Six-panel folding screen ink gold leaf covered paper Rokaku Sansui-zu (painting of a palace and landscape) (tangible cultural property designated by Kyoto Prefecture) by Sanraku KANO.

• 多くの文人墨客と積極的に交わり、特に慈周とは終生の親交をもった。
• He associated with many writers and artists, and among them he built lifelong friendships, particularly with Jishu.

• 自身も能筆家として知られ墨蹟の多くが重要文化財指定を受けている。
• He was also known as an excellent calligrapher, and many pieces of his calligraphy are designated as important cultural properties.

• 人物の輪郭には細い墨の線を、髪や調度品には濃い焦墨を使いわけた。
• As different kinds of ink or painting technique were chosen for the most appropriate part, a contour of a human body was drawn with a thin line in black ink, and hairs and furnishing goods were painted in dark shoboku ink.

• 墨が緻密に作られていれば、それだけ乾燥するまで長い年月がかかる。
• The more carefully the sumi is made, the longer it takes to dry.

• 腐った墨は動物特有の腐敗臭を放ち、筆を傷めるので使うのは避ける。
• Rotten sumi emits a characteristic order of decaying animal, and since it damages the brush, the use of rotten sumi should be avoided.

• 墨を溜める為の薄い窪みを海、墨を磨る為の少し高い部分を陸という。
• The shallow cavity that stores sumi is called umi (the ocean) and the higher part for grinding the sumi stick is called oka (land or hill).

• 書道は主に毛筆と墨を使い、その特徴を生かして紙の上に文字を書く。
• A brush and Sumi (ink) are mainly used to write characters on paper making use of their characteristics in Shodo.

• ただ、輪郭線を全く使用せず墨面だけで表現する「溌墨」とは異なる。
• However, it is different from 'hatsuboku' (splashed-ink technique) in which outlines are not used and only the ink surfaces are used to express.

• 諸説あるが、墨は出来たてでは粘り気があり、墨色も冴えないという。
• Although there are several theories, freshly made ink sticks are sticky and their color is dull.

• 良い墨の絶対条件である書きよさは、膠の品質によるところが大きい。
• The smooth brush stroke, which is the absolute condition for good ink stick, largely depends on the quality of glue.

• 禅僧の往来による、宋学、医術、印刷術、陶芸、水墨画などの大陸文化
• Continent culture introduced by Zen monks such as the Sung Study (Neo-Confucian), medicine, printing art, ceramic art and ink-wash painting.

• 訓点には朱筆と墨点が用いられ、ヲコト点は古紀伝点を採用している。
• In the transcription, the Kunten was added in red ink and bokuten (inking), and wokototen (reading guide marks) were in the form of kokidenten (a style of kunten).

• また江戸時代には与謝蕪村が「白梅や墨芳しき鴻臚館」と詠っている。
• During the Edo period, a Japanese poet YOSA no Buson composed the poem 'A plum tree standing beside the Sumiya (a Geisha house established at the Korokan site), did you watch the prosperity of Korokan in those days?'

• 高句麗の僧、曇徴（どんちょう）が絵具や紙・墨を作る方法を伝えた。
• Damjing (or Doncho in Japanese), a monk from Goguryeo, introduced methods for producing paint, paper and sumi (Chinese ink).

• 表面は「拾両後藤（花押）」と墨書され、後藤十七代典乗の書である。
• On the surface, a seal mark 'Ju-ryo Goto' was written in Indian ink by the 17th mint master Tenjo, the descendant of the mint master Shirobe GOTO.

• 字を千秋または君寿、号 (称号)は墨山・魯台・風塵道人等がある。
• He was also called Senshu, and used Bokuzan, Rodai, or Hujindojin as the title for his profession.

• 器用な人物で、得意分野も染付、祥瑞、吹墨、色絵、金襴手など多彩。
• He was dexterous, and his area of specialty was various including sometsuke (ceramics with blue patterns on white backgrounds), shonzui (the best quality sometsuke), fukizumi (one kind of sometsuke with misty patterns), iroe (painting or colored artwork), and kinrande (ceramics with gold patterns).

• 屯所は江戸本所 (墨田区)（現・東京都墨田区本所 (墨田区)）。
• The headquaters was at Edo honjo (Sumida Ward) (present Honjo, Sumida Ward, Tokyo (Sumida Ward)).

• 紙本墨画淡彩山水図　58面（室中、上一之間、上二之間、下二之間）
• 58 ink and light color on paper landscape paintings (inner room, first upper room, second upper room, lower second room)

• 墨書銘等から室町時代の宝徳3年（1451年）の建立と推定される。
• It is assumed to have been erected in 1451 according to its bokushomei (ink inscriptions) and so on.

• 字はまるでへたで、墨（すみ）もがさがさして指につくくらいでした。
• The handwriting was terrible, and the ink so thick that it stuck to his fingers.

• 北宋期に文人画が盛んとなり、初期水墨画の一種である墨戯が勃興した。
• In the Northern Sung period literati painting became popular and bokugi (ink-play), a kind of early ink-wash painting, experienced a sudden rise in popularity.

• 香典袋の表には、「御霊前」などの文字の下に薄墨で自己の姓名を書く。
• You should write your name using light Japanese black ink under the address, such as 'Goreizen,' on the front side of the koden-bukuro.

• この状態で市販されているものを墨汁（ぼくじゅう）または墨液と呼ぶ。
• Sumi sold commercially in this state is called bokuju (liquid sumi ink) or sumijiru (liquid sumi ink).

• 文字以外には入れ墨にも使用され、これはのちに刑罰の一方法となった。
• Besides writing, it was also used in tattooing, and this later became a method of punishment.

• 固形墨は主な原料である煤の違いによって、松煙墨と油煙墨に分かれる。
• Depending on the soot, which is the main ingredient, solid sumi is divided into burnt pine ink and lamp soot ink.

• 膠を用いた墨液の場合、裏打ちをするときには長時間乾かす必要がある。
• In the case of bokuju made with an animal glue, a long drying time is necessary when adding a lining.

• そのため、磨った墨液は保存がきかないので直ぐに使い切る必要がある。
• Therefore, liquid sumi made by grinding does not last long, and it is necessary to use it up right away.

• 日本の会社が作っている墨液には粗悪な成分を含むことはほとんどない。
• Liquid sumi made by Japanese companies hardly ever contains low-quality ingredients.

• 自題の中に「破墨の法」を明で学んだと述べているので、この名がある。
• The name, Haboku-sansui-zu came from the statement in the long title, which said that he learned 'Haboku technique' in the period of Ming Dynasty.

• 膠は煤と同じぐらい、あるいはそれ以上に墨の品質にとって重要である。
• Glue is as important as soot in terms of quality of ink sticks, or more important.

• 狩野元信は水墨画と大和絵の技法を融合させ、のちに狩野派と呼ばれる。
• Motonobu KANO blended techniques for both ink and yamato-e (classical Japanese-themed) painting, founding what would become known to later generations as the Kano school of painting.

• 料紙・墨・筆などは図書寮、朱沙は蔵人所、軸は木工寮などが調達した。
• Writing paper, ink and brushes were supplied by Zushoryo, shusa by Kurododokoro, and shafts by Mokuryo.

• 美濃紙に表裏墨付9行行書で書かれ、引用は楷書細字で区別されている。
• It was written on Mino paper, on both sides in ink, nine lines in Gyosho (cursive style of writing Chinese characters) and citations were written in Kaisho (block script).

• 城内の家臣は向島 (墨田区)（東京都墨田区）に移って謹慎すること。
• Condition Article Number Five: The retainers of the Edo-jo Castle would move into Mukojima (Sumida Ward, Tokyo Prefecture) and would confine themselves in the respective locations.

• その後、探幽の画風から一歩踏み出し、探幽以上に湿潤な墨調をもった。
• Later on, he spun off from Tanyu's painting style with a more moist black-and-white ink style.

• 水墨画の好画題とされ、大きな袋を背負った太鼓腹の僧侶の姿で描かれる。
• He is a popular subject of Suibokuga (art painted with Japanese black ink) and expressed, in suibokuga, commonly as a paunchy Buddhist monk with a large bag on his back.

• 江戸中期までは眉を剃る、または抜いたあと、元々の眉を薄い墨でなぞる。
• Until the mid Edo period, the original shapes of the eyebrows were drawn with dilute ink after they were shaved or pulled out.

• つむった眼は細長い墨線ひとすじで、低い外鼻は短い「く」の字形である。
• The closed eyes are drawn in black ink as narrow lines, and the external nose, which is flat, is drawn in a short shape of the Japanese letter 'く'.

• 日本では、『日本書紀』に中国の墨について記されているのが初出である。
• The first mention of sumi in Japan was a description of Chinese sumi in 'The Nihonshoki' (Chronicles of Japan).

• 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。
• In current ink-wash painting, it means 'giving a three-dimensional appearance by Bokuten (inking) and Notan (contrasting density) of ink.'

• 「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。
• It is also described as 'the technique to add a kozumi (deep India ink) before the lightly painted point dries.'

• 清代になって状況が逆転し、油煙墨が常識になり、松煙墨が特殊になった。
• With the reversal of conditions, in Qing period the ink sticks made from lamp soot became common and the ones made from burnt pine rare.

• 油煙墨は、菜種油、ごま油、椿油などを小皿に入れ、灯心を立てて燃やす。
• The ink sticks made from lamp soot can be obtained by burning canola oil, sesame oil or camellia oil with a lamp wick in it.

• 国治郎 爪印（爪印とは、親指の爪の縁に墨を塗ってつけた筋状の印。）。
• Kunijiro, tsumein (tsumein is the impression of the thumbnail edge)

• 藩札は、和紙に木版刷りが基本であったが、手書き墨書の札も少なくない。
• Han bills were generally woodblock-printed, but some were hand-written with ink.

• 著名な「風神雷神図」のような装飾的大画面のほか、水墨画の作例もある。
• Other than his famous huge decorative screen painting Wind God and Thunder God, he has some works in water ink.

• 当時の墨帖は粗末なものが多く到底手習いの元とすることはできなかった。
• Many of bokujo in those days were shabby and could not be the example for practice.

• 養和元年（1181年）に平家の侍大将の一人として墨俣川の戦いに参加。
• In 1181, he took part in the Battle of Sunomatagawa as one of the samurai daisho (a warrior who gives the order of battle and maneuvers to the troops) of the Taira family.

• 大和絵の白描技法を水墨画の人物描写に応用し、漢画の和様化に寄与した。
• He applied the hakubyo (white drawing) technique of Japanese painting to the ink-wash painting in drawing a person, and thus contributed to the Japanization of the Chinese painting style.

• おれは墨（すみ）を磨（す）って、筆をしめして、巻紙を睨（にら）めて、
• There seemed, however, no such item as I wanted I grated the ink-cake, wetted the writing brush, stared at the letter-paper

• 狩野派は大和絵の伝統と、中国の水墨画の技法・主題を統合したと評される。
• The Kano-ha school integrated the tradition of Yamato-e and the technique and subject of Suiboku-ga (ink painting) in China.

• 金箔、銀泥と墨、顔料の質感が生かされ、画家の優れた色彩感覚を思わせる。
• The textures of gold foil, silver paint, sumi, and pigment are employed efficiently, thus it makes us think what excellent color sense the painter had.

• しかし、年月を経ると膠が枯れ、滲みも増えて墨色の表現の自由度が広がる。
• However, the animal glue withers with time, and the extent of nijimi increases, expanding the freedom of expression with the tones of sumi color.

• 東京職工学校（現・東京工業大学）で応用化学を学び、その後、墨汁を発明。
• He studied applied chemistry at Tokyo Vocational School (present-day Tokyo Institute of Technology), and he later invented bokuju.

• そのため、高価な筆を使う場合は粗悪な墨液を使うことは避けるべきである。
• Therefore, when using an expensive brush, one should avoid using low-quality liquid sumi.

• しかしその状態になるには、墨液よりも、摩った固形墨の方が良いと言える。
• However, it can be said that ground Chinese ink stick is better than liquid Chinese ink in reaching this state.

• 「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。
• 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.

• 唐代の溌墨山水、粗放な型の画風の創始者の一人王黙に源を持つといわれる。
• It is said to deviate from Wang Mo, one of the founders of Sansui (landscape, hills and rivers) with hatsuboku (splashed-ink technique) of a native style during the period of Tang Dynasty.

• 湿拓（しったく）は紙を湿らせて対象物に張り、その後墨をつけてとる拓本。
• The term 'shittaku' refers to a rubbed copy made by placing wet paper on an object and then putting black ink on it.

• 墨跡の中国書法は北島雪山に伝授され、雪山は唐様の創始者として活躍した。
• The Chinese calligraphic style for bokuseki was initiated into Setsuzan KITAJIMA, and Setsuzan acted actively as the founder of the Chinese calligraphic style.

• 明代までの墨は墨松煙墨（青墨）が普及し、墨油煙墨は特殊な存在であった。
• The ink sticks made from burnt pine were popular until the Ming period, and ink sticks made from lamp soot were rare.

• よって、製造元では出来た墨をねかしておいてから出荷するのが普通である。
• Therefore, it is common for manufacturers to age ink sticks and then ship them.

• 同年3月、墨俣川の戦いで源行家・源義円を破り、源氏の侵攻を食い止めた。
• In March 1181, Shigehira defeated MINAMOTO no Yukiie and MINAMOTO no Gien in the Battle of Sunomata-gawa and held back the Minamoto clan's invasion.

• 金碧障壁画制作のかたわら、中国・宋元の風を承けた水墨の作品もよくした。
• In addition to this wall painting, he drew many ink paintings, after the style of the Song and Yuan Dynasties of China.

• この戦いでは先陣を焦った頼朝方の武将畠山重忠の馬（磨墨）を射たという。
• In this battle, he shot the horse (named Surusumi) of Shigetada HATAKEYAMA, busho on the side of Yoritomo, who was in the scramble to be in the van.

• 長尾真墨（ながおのますみ、生没年不明）は、日本の飛鳥時代の人物である。
• NAGAO no Masumi (year of birth and death unknown) was a person from the Asuka Period in Japan.

• そのため、雄物川から石を千個集め、その一つ一つに経文を墨書して埋めた。
• Therefore, Ryoo gathered 1,000 stones from the Omono-gawa River; then he wrote sutras on each stone and buried them.

• 中川家には蔵書が多かったが、その上に更に古い法帖や墨籍の蒐集を続けた。
• The Nakagawa family had a lot of book collections and he further continued to collect old copybooks printed from the works of old masters of calligraphy and 墨籍.

• 江戸東郊の本所（現在の本所 (墨田区)・深川 (江東区)）を管轄した。
• It controlled Honjo (presently Honko in Sumida Ward) and Fukagawa (Koto Ward).

• 書画・詩文に通じ、茶の湯（茶道）にも親しみ、また多くの墨跡を残している。
• He was familiar not only with painting, calligraphy and poetry but also with Chanoyu (the tea ceremony) and he left many bakuseki (writing, especially of a Zen monk).

• 日本における水墨画の受容と制作がいつ頃始まったかは必ずしも明確ではない。
• It not necessarily clear when the acceptance and production of Suiboku-ga began in Japan.

• この宮型造り銭湯の都心での発祥は東京墨田区東向島の「カブキ湯」に始まる。
• The birthplace of this shrine-shaped sento in the center of Tokyo was 'Kabuki-yu' (Kabuki public bathhouse) in Higashi-Mukojima, Sumida Ward.

• 固形墨においても墨液においても、年月が経てば膠の成分が変質して弱くなる。
• Whether it's solid sumi or liquid sumi, the components of animal glue deteriorate over time.

• 液体墨の防腐剤は時間がたてば弱くなり、およそ2年程で腐ると言われている。
• The preservatives in liquid sumi deteriorate over time, and it is said that it decays in about two years.

• また、一度容器から出した墨液は戻さないように注意が書いてあることがある。
• In addition, there is a cautionary note stating that liquid sumi that has once been poured out of the container should not be returned to the container.

• 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。
• Kozumi sheds usuzumi (light India ink) and generates an effect of 'kozumi breaks usuzumi' (Huáng Gōngwàng, representing mountain and water distinctively).

• この練りの作業が品質を左右するといわれ、熟練した墨師の技術に依存される。
• It is said that this kneading work determines the quality of ink sticks, and the quality largely depends on the techniques of skilled ink stick maker.

• 神龍半印本は八柱第三本を基とするが、筆意が墨跡より自然であるといわれる。
• The Shinryuhanin-bon has the Hacchu-daiisan-bon as its original and is said to have more natural touch than the handwriting.

• この真っ黒にとる拓本はどうしても紙を抜けて対象物に墨を少し移してしまう。
• This engraved print, rubbed until it becomes jet black, inevitably stains the object with a little ink through the paper.

• 外記が勝元から墨付けを受け取るときははずした肩衣で受け取るのが型である。
• It has been formalized that when Gekizaemon receives the certificate from Katsumoto, he takes off his Kataginu (sleeveless formal garment for samurai) and holds the certificate with it.

• 多宝塔（重要文化財）－墨書銘によると寛正４年（1463年）の建立された。
• Tahoto, multi-story pagoda (Important Cultural Property of Japan) - The inscription indicates that it was built in 1463.

• [墨ぬり------------------------------]
• [blacked out------------------------------]

• 14世紀の代表的な水墨画家としては、可翁、黙庵、鉄舟徳済などが挙げられる。
• The representative Suiboku painters in the 14th centuries were Kao, Mokuan, Tokusai TESSHU, etc.

• 9月中旬：例大祭@牛嶋神社（墨田区）(大祭は5年に１度、次回は2012年)
• Mid-September: Grand Festival at Ushijima-jinja Shrine (Sumida Ward) (held every five years, next one in 2012)

• 特に水墨画に優れ阿弥派の開祖とされ、鶴図を描き義政に絶賛されたといわれる。
• Noami was especially excellent at Suiboku-ga (ink painting) and is considered the founder of the Ami-ha group of painters; and it is said that Noami's painting of cranes was highly praised by Yoshimasa.

• 硯（すずり）とは、墨を水で磨り卸す為に使う、石・瓦等で作った文房具である。
• Suzuri is a stationery made of stone or kawara (the clay tile of the roof) that sumi (ink) stick is ground on it with water.

• この鋒鋩が細かく密に、そして均一に散りばめられているほど墨色は美しく出る。
• The more fine, dense and homogeneous particles enable more excellent sumi ink.

• また墨をつける段階である程度乾かさないと、墨が滲んだり、薄くなったりする。
• Additionally, the paper should be somewhat dried before putting black ink; otherwise, the ink may run on the paper or become faint.

• 通常、唐墨は清時代までに、和墨は江戸時代までにつくられたものを古墨と称す。
• Usually, Chinese ink sticks produced up until the Qing period and Japanese ink sticks until the Edo period can be called koboku.

• だいたいの目安としては、20年から100年にかけてが最もよい墨色を見せる。
• As a rough guide, the ink sticks that have gone through from 20 to 100 years of age show the best ink black.

• また、古墨の条件としては、よい原料とよい製法を用いていることが前提である。
• Also, as the conditions of koboku, it is necessary that the ink sticks have been made using good materials and with proper manufacturing process.

• 清にも良い墨が作られ、曹素功、胡開文などの老舗が開業し現在まで続いている。
• During the Qing Dynasty the ink sticks with high quality were also made, and long-established stores like Cao Sugong and Hu Kaiwen opened and they still exist now.

• 松煙墨の煤の採り方は、まず、かなりの年数を経た松の樹の幹に斧で溝をつける。
• In order to obtain the soot, first make a dent on the trunk of rather old pine tree with an ax.

• 薄墨こそ、小町桜の精で関兵衛の野望を阻止するため、人の姿をして現れたのだ。
• Usuzumi in fact is a Komachi-zakura cherry tree fairy, and she appeared in the form of a human in order to interfere with Sekibe's ambition.

• 色紙や懐紙として残る遺墨は、神々しく威厳に満ち、見る者を雅な世界へと誘う。
• His historical calligraphy of large square cards and paper for writing traditional verses were invested with an air of dignity; with their divine tone they would guide people to the world of courtliness.

• 季鷹は、有栖川宮職仁親王に手ほどきを受けた後、江戸にて文人墨客と交わった。
• Suetaka learnt poetry from Imperial Prince Arisugawanomiya Yorihito and moved to Edo to be with other writers and artists.

• 国宝指定物件には仏画、絵巻物、肖像画、水墨画、障壁画など各種のものがある。
• Many different types of paintings have been made national treasures, including Buddhist paintings, picture scrolls, portraits, monochrome ink paintings, and wall paintings.

• 実際にこれらの墨書小判を作り直したと考えられる慶長古鋳小判が現存している。
• There actually exists Keicho Koban which is thought to be recast of these Sumigaki Koban.

• 浅野の用意した墨絵を吉良は「勅使様に無礼である」として金屏風に変えさせた。
• Kira had the Japanese ink painting Asano prepared changed to a gilded folding screen, saying 'It is disrespectful to Imperial envoy.'

• 多くの文人墨客がここに集い、酒を飲みながら詩作に耽り、政治談義などをした。
• Many writers and artists gathered and composed poetry and poems while drinking and talking about politics.

• 元和7年（1621年）の建立（平成の大修理で同年の墨書が発見されている）。
• It was constructed in 1621 (contemporary india-ink writings were discovered within during the Large Scale Heisei Era Renovation).

• 一休が村田珠光の師であるという伝承があり、茶人の間で墨蹟が極めて珍重された。
• It is said that IKKYUU was Jukou MURATA's teacher, and his writings were prized most highly among practitioners of the tea ceremony.

• 紙本墨画山水図　円山応挙筆 - 掛軸に改装、1904年に東京国立博物館に寄託
• Monochrome ink painting on paper of a landscape by Okyo MARUYAMA; they were refurbished as hanging scrolls, and were deposited in the Tokyo National Museum in 1904.

• 磨り味は端溪の滑らかさと違って、鋭く豪快に実によくおり、墨色も真っ黒になる。
• The Shezhou ink stone has sharp and powerful grinding to create extremely black ink while the Duanshi ink stone has soft grinding.

• 良い硯ほど墨が貼り付いてしまい、無理に取ろうとすると硯の面が剥がれてしまう。
• Good suzuri makes sumi more stuck to the suzuri; the force that removes the ink causes peeling off the surface of the suzuri.

• 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。
• However, it gained wide popularity with the trend of 'suibokuga' (ink-painting), influenced by the spread of 'Zen Buddhism' in the late Kamakura period.

• 墨跡では清の乾隆帝が蒐集した三点の模写本が有名である（北京故宮博物院所蔵）。
• Among these handwritings, the following three copied books collected by Chien Lung of Qing are famous (possessed by the Palace Museum in Beijing).

• 奴隷労働から脱走し、逮捕されると腕に入れ墨を入れられて脱走回数が記録された。
• They were tattooed on the arm if they escaped from slave labor and were caught, and the number of escapes was recorded.

• また、伊那谷の人士は、俳句作品ばかりでなく、井月の墨書、筆跡も珍重していた。
• Local people in the upper class of Inadani valued not only his haiku but also his ink writings and calligraphy.

• 当地には豪渓(ごうけい)と呼ばれる水墨山水画の世界を思わせる渓谷地帯がある。
• The area with canyons resembled the world of Chinese-style landscape calligraphy painting known as 'Gokei.'

• 以降、若き天才監督の名前をほしいままに、『盤嶽の一生』『街の入墨者』を発表。
• He went on to revel in the title of young genius director and released 'Bangaku no Issho' (Bangaku's Life) and 'Machi no Irezumimono' (The Village Tattooed Man).

• 霊山寺 (東京都墨田区)（れいざんじ） - 東京都墨田区にある浄土宗の寺院。
• Reizan-ji Temple (Sumida Ward, Tokyo Prefecture) - A Pure Land sect temple located in Sumida Ward, Tokyo Prefecture.

• 唇に朱を、眉、瞳などに墨を塗るほかは彩色などを施さない素木仕上げの像である。
• This plain wooden statue features very little color with the exception of vermillion on the lips and black on the eyebrows and pupils.

• その豪放で端正な書風から大燈国師（宗峰妙超）の墨蹟中の代表作といわれている。
• It is said to be a representative work of Daito Kokushi (Shuho Myocho) due to the bold, exquisite calligraphy style.

• 眉、瞳、髭などに墨、唇に朱を差すほかは彩色や金箔を施さない素木仕上げとする。
• It is made of raw wood with no coloring or gilding except black ink-colored eyebrows, pupils, mustache and beard and red-colored lips.

• その一つはあの入れ墨と同じ「ビリーボーンズのお気に入り」というものだったし、
• One was the same as the tattoo mark, 'Billy Bones his fancy';

• 墨蹟窓からの光に照らされた床には、四季に合わせた掛け軸、花があしらわれている。
• A kakejiku (hanging scroll) and flowers representing the season are arranged on the tokonoma which is illuminated by light from a bokuseki-mado (a window on the side wall of the alcove used to provide light).

• 寒山は唐時代、天台山に住んでいたという伝説的な隠者で、水墨画の好画題とされる。
• Kanzan was a legend, who was said to have lived on Mt. Tendai during Tang, and has been often used as a good subject for Suiboku-ga.

• 国内で作られたものとしては、奈良時代の後期、奈良和束の松煙墨が初めてとされる。
• Inksticks made from burnt pine in Nara Wazuka during the latter half of the Nara period are considered to be the very first ones made in Japan.

• 墨がついた筆を洗う際に口で吸う人もいるが、健康被害などに気をつける必要がある。
• Some people use the mouth to suck on the brush with sumi on it when cleaning, but it is necessary to be aware of the health hazards in doing this.

• 墨の成分は、主にススと膠（ニカワ：コラーゲン・ゼラチン成分）から作られている。
• The ingredients of a Chinese ink stick are mainly soot and glue (made of collagen and gelatin).

• 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。
• Haboku-sansui refers to Sansui-ga (Chinese-style landscape painting) which is painted using haboku (the broken-ink technique) technique (to be described later).

• このため、このような状態の墨を使うと水と墨がなじまず、ひどく汚い滲み方をする。
• Because of this, if the ink stick in this period is used, water and ink does not mix well and the blur becomes rather worse.

• 絵画では東山時代に画僧である明兆・如拙・周文らを経て雪舟が水墨画を完成させる。
• In terms of painting, the Higashiyama period saw the emergence of Sesshu, who surpassed monk-painters like Mincho, Josetsu, and Shubun and perfected the art of ink painting.

• 「書跡」は宸翰、和漢名家筆跡、古筆、墨跡、法帖等で日本の書道史上の遺品を指す。
• Calligraphy work' refers to Imperial letters, examples of handwriting by well-known calligraphers of Japan and China, ancient writings, ink calligraphy, calligraphy copybooks, and any other written works (in Japan) of historical significance by deceased calligraphers.

• 墓所は霊山寺 (東京都墨田区)にあり、二世蔵六・三世浜村蔵六も合葬されている。
• His grave is located in Reizan-ji Temple (Sumida Ward, Tokyo Prefecture) and Zoroku HAMAMURA the second and the third are also buried here.

• 渡辺政香は国学のほか漢詩や和歌などを学び、多くの学者や文人墨客と交流があった。
• Masaka WATANABE learned Chinese-style poem, Waka as well as Japanese classical literature and associated with many scholars, writers and artists.

• 治承・寿永の乱では重忠の父の重満が墨俣川の戦いで源行家の軍勢に加わり討死した。
• During the Jisho-Juei War, Shigetada's father Shigemitsu joined the army of MINAMOTO no Yukiie in the Battle of Sunomatagawa and died on the battle field.

• 紙本墨画商山四皓（しょうざんしこう）図　8面　伝長谷川等伯筆（方丈東の間襖絵）
• 8 monochrome ink paintings on paper of the Four Sages of Mt. Shang attributed to Tohaku HASEGAWA (sliding panel paintings in the eastern room of the hojo)

• 紙本墨画蜆子猪頭（けんすちょとう）図　4面 伝長谷川等伯筆（方丈衣鉢の間襖絵）
• 4 monochrome ink paintings on paper of the eccentric Zen priests Xianzi and Zhutou attributed to Tohaku HASEGAWA (sliding panel paintings in the clothing and begging bowl room of the hojo)

• 初期水墨画の代表作である国宝・瓢鮎図（ひょうねんず）を所蔵することで知られる。
• It is known for its possession of the Hyonen-zu (lit. catching catfish with a gourd) painting - a prime example of early India-ink paintings.

• 如拙筆の確証がある数少ない作品の一つで、日本の初期水墨画の代表作の一つである。
• It is one of the few pieces that can be confirmed as being the work of Josetsu and is a prime example of early Japanese India-ink paintings.

• JR奈良線「JR藤森駅」下車徒歩5分　もしくは　京阪本線「墨染駅」下車徒歩5分
• 5 minutes walk from 'JR Fujimori Station' on the JR Nara Line or 'Sumizome Station' on the Keihan Electric Railway Main Line.

• 棟木の墨書銘から平安時代末期、永暦2年（1161年）の建築であることがわかる。
• An inscription of the ink writing of a ridgepole shows that it was built in 1161, at the end of the Heian period.

• 松尾家の家祖は堺の辻家の養子で、京都で呉服商（屋号は墨屋）を営んだ辻玄哉である。
• The Matsuo family was founded by Gensai TSUJI, an adopted son of the Tsuji family in Sakai, who carried on as a dealer in kimono fabrics under the company name of Sumiya in Kyoto.

• 特に1966年の文化大革命以降に中国で製造された唐墨は、品質が悪いとされている。
• Especially, it is said that Chinese ink sticks produced in and after the Cultural Revolution in 1966 are bad in quality.

• 復讐の機会を窺っていた御陵衛士残党と共に、伏見墨染で近藤勇を襲撃して負傷させる。
• He and the remnants of Goryoeiji who were waiting for the day when they could get revenge attacked and injured Isami KONDO in Fushimi Sumizome.

• 2007年6月8日午前8時35分、大腸癌のため東京都墨田区の墨田中央病院で死去。
• He died from colorectal cancer at 8:35 AM on June 8, 2007 at the Sumida Chuo Hospital in Sumida Ward, Tokyo Prefecture.

• 墨染寺の角で再び南に折れ、撞木町の前を通り、国道24号を交差し京町通につながる。
• It bends again south at the corner of Bokusen-ji Temple, passes in front of Shumoku-mach, crosses the National highway Route No, 24, and joins the Kyomachi-dori Street.

• 現存する竺仙梵僊の墨蹟中で大字・大幅であり、彼の闊達な書法を示す代表作といえる。
• Of the surviving calligraphy works by Jikusen Bonsen, this piece can be said to be highly representative of his bold style with both large characters and width.

• 棟木の墨書により鎌倉時代末期の乾元2年（1303年）の再建であることが知られる。
• It is known that it was rebuilt in 1303, at the end of the Kamakura period, by the ink writing on a ridgepole.

• 皮膚表面に麻酔をかけた後、皮膚の外層を磨いて削り取ることによる傷跡や入れ墨の除去
• removal of scars or tattoos by anesthetizing the skin surface and then sanding or scraping off some of the outer skin layer

• 絵巻物の中にも『枕草紙絵巻』のように彩色を用いず、墨の線のみで描かれたものがある。
• Among Emakimono (picture scroll) there are pictures painted only in Sumi without any colors such as the 'Makura no Soshi Emaki picture rolls.'

• 13世紀末から14世紀頃までの日本の水墨画を美術史では「初期水墨画」と呼んでいる。
• Suiboku-ga from the end of the 13th century to around the 14th century in Japan is called 'Early Suiboku-ga' in the history of art.

• 1952年、「紙本墨画親鸞聖人像（鏡御影）」の附として正本および副本が国宝に指定。
• In 1952, original and duplicate were designated to national treasure attached to the 'monochrome ink portrait on paper of Shinran Shonin' (Kagami Goei).

• 青墨には、煤自体が青く発色するもの以外に、アイ (植物)などで着色するものもある。
• For the blue ink, besides the soot itself having a bluish color, some may be further colored with indigo (plant).

• 瓢鮎図（ひょうねんず）は、日本の初期水墨画を代表する画僧・如拙作の絵画作品である。
• Hyonenzu is a painting created by Josetsu, a leading painter and priest in the early stage of ink-and-wash paintings in Japan.

• しかし、太宗の命により唐代の能筆が臨摸したと伝えられる墨跡や模刻が伝えられている。
• However, there are some examples of handwriting and engraving that skilled calligraphers in the Tang Dynasty period are said to have written following the model by Taiso's order.

• そのため、水墨画や工芸品など多くの武蔵ゆかりの品々が現在も松井家に伝えられている。
• Therefore, many Musashi's works including ink-wash paintings and artifacts are still preserved in the Matsui family.

• 源氏追討は治承5年（1181年）3月に墨俣川で源行家を破って以降、膠着状態となる。
• The action to search-and-destroy the Minamoto clan was stalemated after MINAMOTO no Yukiie was defeated in the battle of Sunomata-gawa river in March 1181.

• 1916年には国民新聞、時事新報の2紙に新聞小説を同時に連載（「墨染」「絵絹」）。
• In 1916 he wrote two newspaper serial novels at the same time for the Kokumin Shinbun and Jiji Shinpo newspapers ('Sumizome' and 'Eginu').

• 翌年、藩命により、ふたたび長崎で約1年半、費漢源に山水画、李用雲に墨竹図を学んだ。
• The next year, as commanded by the clan, he stayed in Nagasaki again for about one and a half years, and studied landscape picture under Hikangen and Bamboo Groves in ink under Liyoun.

• 北東部は墨のような黒で、その黒さの中に、まばゆく動かずに青白い星が輝いていました。
• North-eastward it was inky black, and out of the blackness shone brightly and steadily the pale white stars.

• 3つの同素形が存在する豊富な非金属の4価元素：非晶質炭素、石墨、およびダイヤモンド
• an abundant nonmetallic tetravalent element occurring in three allotropic forms: amorphous carbon and graphite and diamond

• 本来は墨の単色刷りのもののみを貼るべきであり、目立つこのような札は貼るべきではない。
• Originally, when senjafuda is stuck, it should be those done in India ink and loud appealing colored cards should be avoided.

• 墨汁には古来の墨と異なり化学的に合成された物質が原材料として使われている場合もある。
• Unlike ancient sumi, chemically synthesized substances are used as main ingredients in some cases of bokuju.

• 墨色に立体感が出て、筆の運びにしたがって芯や滲みなど墨色の変化が美しく出るとされる。
• The ink color gains three-dimensionality, and it is said that variation in the ink color according to the brush movement, such as the shin and nijimi, takes on aesthetic expression.

• また筆のコシが出て、墨の含みも良くなり、最も良い状態で筆の性能を活かすことができる。
• In addition, it also makes the brush more elastic and better suited to load Chinese ink, making it possible to maximize the brush's performance.

• 墨引　カネワリ法を中心とした理論書であり、章題は秘伝として墨を引いて消したという意味
• 'Sumibiki' is the volume on theories, specifically on the kanewari measurement system, with a title meaning to paint out with India ink because it's a secret teaching.

• 一同の前に現れた細川勝元は外記らの働きをたたえ、鶴千代の家督を保証する墨付を与える。
• Katsumoto HOSOKAWA appears before them, praises Gekizaemon and others for their service and gives a certificate guaranteeing Tsuruchiyo's succession of the family headship.

• 決定した名前は大高和紙に墨書され、両親が確認したのちにそれを宮務官が桐の箱に入れる。
• The determined name is written on Otaka washi (big size fine crepe paper) in black ink, the parents check it, and then an official of the Imperial Household Agency puts it into a paulownia box.

• 宝形造の檜皮葺で、屋根板の墨書より天永3年（1112年）の建造であることが判明した。
• It was in hogyo-zukuri style and was hiwada-buki (cypress bark roof), and it was identified to be the architecture in 1112 through the ink writing of roofs.

• さらにその重臣含めて知行などを子々孫々に至るまで保障するというお墨付けを与えられた。
• Furthermore, he was given a certificate that guaranteed both his family members and senior vassals the hereditary ownership of lands.

• 底筒之男神・中筒之男神・上筒之男神は墨江（住吉大社）の三柱の大神（住吉三神）である。
• Sokotsutsu no O no Kami (the god of navigation at the bottom), Nakatsutsu no O no Kami (the god of navigation in the middle) and Uwatsutsu no O no Kami (the god of navigation in the upper) are the three great gods of Sumie (Sumiyoshi-taisha Shrine) (Sumiyoshi Sanjin [Sumiyoshi three gods]).

• 尾張墨俣渡にて御家人らと先陣争いで乱闘になったのが頼朝の耳に届き、怒りを買っている。
• Yoritomo got angry when he heard about internal fighting for the vanguard position happening at Sumimata watashi-Ferry in Owari Province.

• 隣華院- 方丈襖絵「水墨山水図」長谷川等伯筆（国の重要文化財）、狩野永岳筆襖絵を所有
• Rinka-in Temple - The hojo is in possession of a sliding screen landscape painting 'Suiboku Sansui zu' created by Tohaku HASEGAWA (Important Cultural Property) and sliding screen paintings by Eigaku KANO.

• 第一殿の棟木に元応2年（1320年）の墨書があり、他の2棟も同時の建立と推定される。
• The year 1320 is inscribed on the first shrine's ridgepole, so the other two shrines are also assumed to have been built in 1320.

• 天守の存在しなかった城・天守台はあったが天守が建てられなかった城（墨俣城、富山城など）
• Castles where no Tenshu existed and castles where Tenshudai existed but no Tenshu was constructed (Sunomata-jo Castle, Toyama-jo Castle and so on)

• 2005年には、応挙が玉堂（第4世）を描いた水墨画の掛軸や書簡が当寺で発見されている。
• In 2005, a Kakejiku (hanging scroll) in water ink on which Okyo drew a portrait of Gyokudo (the fourth chief priest of the temple) was found in the temple, as were Okyo's letters.

• 随人という下級武官の衣装の褐衣（かちえ/胸に蛮絵を墨で描いた動きやすい装束）に準じる。
• This costume corresponds to the clothing of kachie (a mobile costume with bane, pictures of animals, printed on its outerwear's chests) designed for junior class military officers called zuijin (literally, 'people from Chinese dynasty of Sui').

• 不動明王の墨流し文様、矜羯羅童子像の草喰鳥、制多迦童子像の枝花など希少な文様が見られる
• Rare patterns, such as suminagashi patterns (patterns made with ink drops) on the Fudo myoo, Kusakuidori birds (grass eating birds) on the statue of Kongaradoji and flowers on branches on the statue of Seitakadoji, are observed on these statues.

• 剛毛の弾力と柔毛の墨含み、双方の利点を併せ持つ二種の毛を配合したものを「兼毫」と言う。
• A fude that offers the merits of both bristle elasticity and ink absorption in its soft hairs is called a 'kengo.'

• 「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。
• 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.

• こうして干し上がった墨に磨きをかけ、金色や銀色などで模様を描き、墨の出来上がりである。
• Polish the thoroughly dried ink stick, and draw gold or silver patterns on it, and all the process of making ink stick is finished.

• 国宝指定名称紙本墨画淡彩瓢鮎図 如拙筆 一幅 全愚周崇の序、玉畹梵芳等三十僧の賛がある
• Name of Designated National Treasure: Shihon Bokuga Tansai Hyonenzu, by Josetsu, a scroll, with commentary by Zengu-Shusu, and poems by 30 priests, including Gyokuen Bonbo.

• 中書院と新御殿の水墨画主体の障壁画は、江戸幕府御用絵師・狩野探幽一門によるものである。
• The wall painting based on a sumi painting of Chusho in and the Shingoten was drawn by Tanno KANO's family who were patronized by the Edo bakufu (Japanese feudal government headed by a shogun).

• 享保大判の現存数は万延大判についで多いが、初期の十二代寿乗による墨書は大変稀少である。
• There are many existing Kyoho-oban, surpassed only by the Manen-Oban, although Kyoho-Obans with ink writings by the twelfth clan head, Jujo, are rare.

• 墨の色も今書いたかのように美しく、寂寥の念はひとしおだが、すべて破って燃やしてしまう。
• The black ink looks clear and beautiful as if the letters had just been written, so he feels great loneliness but tears them up and burns them.

• 京阪本線 - 五条駅、七条駅、東福寺駅、鳥羽街道駅、伏見稲荷駅、深草駅、藤森駅、墨染駅
• Keihan Main Line - Gojo Station, Shichijo Station, Tofukuji Station, Tobakaido Station, Fushimi-inari Station, Fukakusa Station, Fujinomori Station, Sumizome Station

• 基底部の裏面、屋蓋の上部、相輪の基底部に製造年月日や製造者の氏名が墨書されたものがある。
• Some of the towers were constructed with production date and the full name of the manufacturer written in Indian ink on the back side of the foundation base, the upper part of the roof part, and the foundation base of Sorin.

• また、東福寺の画僧・明兆（みんちょう）は、濃彩の仏画から水墨画まで幅広い作品を制作した。
• Besides, Mincho, an artist-monk of Tofuku-ji Temple produced works, from highly-colored Buddhist paintings to Suiboku-ga.

• イモの葉の露で墨をすると習字が上達するといい、7枚のカジ（梶）の葉に歌を書いてたむける。
• As it is believed that grinding an ink stick with drops of dew formed on the leaves of a sweet potato plant is effective for the improvement of calligraphy, seven leaves of paper mulberry on which waka poems are written are offered.

• 墨などで固まった穂先を陸にこすりつけて、柔らかくしようとすることは絶対にしてはならない。
• The top of the brush that has been firmed by Chinese ink should not be rubbed against riku in order to make the hardened top softer.

• 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。
• 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.

• 薄く破れやすいが墨引が良く、虫に対して丈夫なために書画に用いる紙として文人達に愛された。
• Although it is very thin, its spread of sumi ink is good and is strong against insect, so that many literati loved it, as paper used for calligraphic works and paintings.

• 元禄2年（1689年）に本所 (墨田区)、同14年（1701年）に神田駿河台に移転する。
• It was moved to Honjo (Sumida Ward) in 1689, and to Kanda Surugadai in 1701.

• 古今伝授伝承者に名を連ねる和歌の名手で、能書家でもあり、短冊などの遺墨は、たいへん貴重。
• He was a talented poet of Waka (a traditional Japanese poem of thirty-one syllables) who was one of the popular poets of oral tradition in the Kokindenju, he was also known to be good with a brush and an very rare example of his calligraphy in black paint exists in Tanzaku (a long sheet on which Waka poems are written).

• ある日新しい妻の所へ行くと、慌てた妻ははいずみ（眉墨）を白粉と間違えて顔に塗ってしまう。
• One day, when he visits his new wife's place, she is in a hurry and mistakenly applies eyebrow powder on her face instead of face powder.

• 雪舟の流れを汲んだ真体水墨画的な山水図などの他、彩色した花鳥を題材とした作品も見られる。
• Apart from standard landscapes painted in Indian ink in the tradition of Sesshu, there are also some works with painted flowers and birds as their subject matter.

• 墨俣川の戦いや水島の戦いで勝利して活躍するが、一ノ谷の戦いで捕虜になり鎌倉へ護送された。
• He was active in battle and won the Battle of Sunomata-gawa and the Battle of Mizushima, but he was captured in the Battle of Ichinotani and sent to Kamakura under guard.

• 墨田区に業平という地名があり、大横川だった場所に架かっている浅草通りの橋が業平橋である。
• There is a place called Narihira in Sumida Ward, and the bridge over Asakusa-dori Street, where the Oyoko-gawa River used to be, is called the Narihira-bashi Bridge.

• 中国の画家 董源や倪雲林、張秋谷らの影響がみられ、気韻生動、筆墨淡雅で、超俗の趣を持つ。
• Strongly influenced by Chinese painters such as Gen TO, Unrin GEI, and Shukoku CHO, his paintings are vivid, civilized, and supermundane.

• 印可（師匠の法を受け継いだというお墨付き）を得て仁治2年（1241年）、日本へ帰国した。
• In 1241, he received inka (certification as a Zen Master) and returned to Japan.

• こうしてフランス王シャルルは、片手に持った白墨で[21]、イタリアを占領してきたのです。
• Thus it was that Charles, King of France, was allowed to seize Italy with chalk in hand;21
• Thus it was that Charles, King of France, was allowed to seize Italy with chalk in hand;(*)

• 故に大聖人は、「日蓮が魂を墨にそめながして書きて候ぞ、信じさせ給へ」と仰せられるのである。
• Therefore, the Dai-Shonin said 'Please believe in me because I poured my soul into the ink to write this.'

• 着彩画であっても、水墨画風の描法になり、墨が主、色が従のものは「水墨画」に含むことが多い。
• Even colored paintings in Suiboku-ga style, mainly with Sumi, but with a few colors, are often included as 'Suiboku-ga.'

• 毛筆による書道の場合、硯・筆・紙・墨が最低限必要な用具であり、これらは文房四宝と呼ばれる。
• Suzuri (ink stone), brush, paper, and Sumi are the minimum instruments required in Shodo done with a brush and they are collectively called Bunboshiho (four stationary goods).

• 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）。
• 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).

• 『古本説話集』第十九段「平中事」、狂言「墨塗」などに見られるモチーフ「墨塗説話」系の短編。
• It is a short story of 'Suminuri (putting black ink) tale' style seen in 'Heichugoto,' the 19th section of 'Kohon Setsuwashu' (Collection of Old Tales), Kyogen (farce performed during a Noh cycle) 'Suminuri.'

• この部隊は4日に墨坂（現在の奈良県北東部）で敗走する吹負に出会い、金綱井で敗兵を収容した。
• On August 5, this troop met Fukei who was being routed in Sumisaka (present-day the northeast part of Nara Prefecture), and picked up defeated soldiers in Kanazunanoi.

• 長尾真墨はこの後も大伴吹負のもとで戦ったと考えられるが、その様子は『日本書紀』に現れない。
• NAGAO no Masumi was believed to have continued fighting for OTOMO no Fukei after this battle, but nothing was mentioned about him in 'Nihonshoki' (Chronicles of Japan).

• 譴責状では「甚九郎覚悟の条々　書き並べ候えば　筆にも墨にも述べがたき事」と酷評されている。
• In the letter of reprimand, Nobuhide was bitterly criticized as 'regarding the frivolous acts of Jinkuro, there are too many to describe.'

• 養和元年（1181年）、尾張国の墨俣川の戦い、三河国矢作川の戦いで二回に渡り平家方と交戦。
• He engaged in battle twice against theTaira Clan in 1181, at the Battle of Sunomata River, in Owari Province, and the Battle of Yahagi River, in Miwa Province.

• 墨染駅（すみぞめえき）は、京都府京都市伏見区深草北新町にある京阪電気鉄道京阪本線の鉄道駅。
• Sumizome Station, located in Fukakusa-kitashin-machi, Fushimi Ward, Kyoto City, Kyoto Prefecture, is a stop on the Keihan Main Line, which is operated by Keihan Electric Railway.

• また、義円の墓は、岐阜県大垣市墨俣町上宿の田畑の中にあり、旧墨俣町の文化財に指定されている。
• Also, the tomb of Gien is located in a field of Kamijuku, Sunomata-cho, Ogaki City, Gifu Prefecture, and has been selected as an important cultural property of the former Sunomata-cho Town.

• 達磨図（山梨・向嶽寺蔵、国宝） - 達磨の衣などに彩色があるが、水墨画の筆法で描かれている。
• Daruma-zu (Kogaku-ji Temple, Yamanashi, national treasure) - painted by the touch of Suiboku-ga in spite of colors on clothes of Dharma.

• 明治30年（1897年）ころには襖判鳥の子紙に、墨流し加工して好評を得て、輸出までしている。
• Fusuma-size torinoko paper with suminagashi processing (staining method by which Sumi or a pigment is dropped onto water surface, and the appearing pattern is transferred to paper or cloth) was favorably received and even exported around 1897.

• 眉を剃る、または抜いたあと、除去した眉よりも高い位置に「殿上眉」という長円形の眉を墨で描く。
• After shaving or pulling out eyebrows, oval-shaped 'tenjo-mayu' eyebrows were drawn with ink at positions higher than the removed eyebrows.

• 和歌集の装飾としてそれぞれの歌に関係する情景を墨で繊細に描いた「葦手絵」がその起源とされる。
• The Uta-e is believed to have originated from the 'Ashide-e' decorating Japanese poem collections, which were meticulous pictures of landscapes relating to the poems, drawn with Indian ink.

• ユダヤ教のラビのお墨付きが付いた食材（カシュルート）は製造過程に甲殻類が一切関わっていない。
• No substance related to Crustaceans is included in processes used to manufacture the foodstuffs approved by Judaistic rabbis (kashrut).

• 煤を植物油や石油から採ったものを「墨油煙墨」、松から採ったものを「墨松煙墨（青墨）」という。
• Ink made with soot collected from vegetable oil and other oil is called 'black ink stick made from lampsoot' and from pine is 'black ink stick made from burnt pine (seiboku - bluish ink stick).'

• 近来では、宋、元時代の他に、江戸時代の黄檗派の禅僧の書風も墨跡と呼ぶのが一般的となっている。
• Recently, in addition to the calligraphic works in the Song and Yuan era, those by Zen priests of the Obaku school in the Edo period have also generally come to be called bokuseki.

• 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。
• 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.

• 大燈国師墨蹟-宗峰妙超が関山慧玄に与えた「印可状」（自分の法を継いだというお墨付き）である。
• Writing of Daito-kokushi - The inka (master's certification of a disciple's completion of training) given by Shuho Myocho to his disciple Kanzan Egen.

• 納入品には水晶舎利塔、経典などのほか、珍しいものとして、結縁文を墨書した樹葉（6葉）がある。
• In addition to a crystal reliquary urn and scriptures, the items contained within the statue include unique lists of the names of individuals concerned with statue's creation written in monochrome ink on leaves (6).

• 二時間目に白墨（はくぼく）を持って控所を出た時には何だか敵地へ乗り込（こ）むような気がした。
• When I left the teachers' room, chalk in hand, for the second hour class, I felt as if I was invading the enemy's territory.

• 爺さんはそれぞれの品に対して自分がこれだけなら出してもいいと云う値段を壁の上に白墨で記した。
• who chalked the sums he was disposed to give for each, upon the wall,

• 墨染ダムからは伏見インクライン（国道24号の拡幅用地に転用され現存せず）を経て濠川とつながる。
• From Sumizome Dam, it goes via Fushimi Incline (which does not exist today because it was used to widen National Route 24) to join Hori-kawa River.

• 外郭の外側から「辛巳年」（かのとみ）「大津皇子」「大来」等と書かれた墨書木簡が発見されている。
• Some Bokusho-mokkan (a narrow wooden strip on which some words are written in black ink called 'sumi') on which some Chinese characters are written, such as 'Kanotomi' (辛巳年),' 'Otsu-no-miko' (大津皇子 ［Prince Otsu]) and 'Okume' (大来), were discovered in the outer area of the gaikaku.

• また、『公羊墨守』を著作して公羊学を顕彰するとともに、『左氏膏肓』を著作して左氏学を攻撃した。
• Additionally, he wrote 'Kuyo-bokushu' to honor Kuyo learning and wrote 'Sashikoko' to attack Sashi learning.

• そのうち竜田に向かった三百人の指揮官が、坂本財、長尾真墨、倉墻麻呂、民小鮪、谷根麻呂であった。
• SAKAMOTO no Takara, NAGAO no Masumi, KURAKAKI no Maro, TAMI no Oshibi, and TANI no Ne Maro were involved in the troops as the commanders of the 300-member unit that headed for Tatsuta.

• JR藤森という駅名を名乗ってはいるが、京阪本線の藤森駅とは離れており、むしろ墨染駅の方が近い。
• Although the stop is called 'JR-Fujinomori Station,' Sumizome Station on the Keihan Main Line (KML) is located nearer to it than Fujinomori Station on the KML.

• 神武天皇が墨坂の神に赤楯矛を、大坂（都市の大坂ではなく、二上山の北の峠）の神に黒楯矛を奉った。
• The Emperor Jinmu enshrined red pikes and shields as the god of Sumisaka and black pikes and shields as the god of Osaka (not the city of Osaka but the north pass of Mt. Nijo).

• 田中仙樵は石州流清水派の野崎兎園に入門して南方録墨引巻にある曲尺割（かねわり）の研究に取り組む。
• Sensho TANAKA became a pupil of the Shimizu-ha group of the Sekishu school Toen NOZAKI and spent his time studying kanewari (one theory of tea ceremony) of Namporoku Sumibiki kan (Sumibiki volume of Namporoku).

• 経文は、一行17字、一頁12行（見開き24行）に定型化された書式に漢字で放射状に墨書されている。
• The Sutras were written with black ink, in Chinese characters arranged in a radial fashion in the fixed form of 12 lines per page (24 lines on two adjacent pages), with each line composed of 17 characters.

• 墨（すみ）は、ランプブラックや松煙などから採取したススをゼラチンで練り固めたもの（固形墨）いう。
• Sumi refers to soot derived from substances such as lampblack or burnt pine, solidified by mixing with gelatin (solid sumi).

• よって、いくら年月を経ても、原料が粗悪なものであったり、製法に手抜きがあれば、古墨とは呼べない。
• Therefore, if the materials of the ink stick that has gone through many years are coarse and are made with cutting corners, it cannot be called koboku.

• 表面は「拾両後藤（花押）」と墨書され、後藤五代徳乗、その実弟長乗、七代顕乗、九代程乗の書である。
• The surface of Keicho Oban had a writing in ink of 'Ju-ryo Goto' (a kao [written seal mark]), and this seal mark was written by Tokujo GOTO, who was the fifth generation of the Goro family, Tokujo's real younger brother Chojo, Kenjo, who was the seventh generation of the Goto family, and Teijo, the ninth generation of the family.

• 同年6月、京方は幕府軍を美濃と尾張の国境の尾張川で迎え撃つことになり、重忠は墨俣町に陣を置いた。
• In June same year, kyogata (the Kyoto side or supporters of the Imperial Court in Kyoto) waited for the army of bakufu at the Owari-gawa River, which was the border or Mino and Owari, and Shigetada had his army ready in Sunomata Town.

• 雪舟は中国絵画の影響を消化しつつ『天橋立図』のような日本の実景を題材にした独自の水墨画を制作した。
• Sesshu produced his own Suiboku-ga based upon actual landscapes in Japan such as 'Ama-no-Hashidate-zu (painting of Ama-no-Hashidate)' digesting the influence of Chinese paintings.

• 演劇用には松脂に墨を混ぜたものが使われ、現代ではトゥースワックス(蝋に墨を混ぜたもの)が使われる。
• For dramas, pine resin mixed with ink is used, nowadays, tooth wax (wax mixed with ink) is used.

• また、宋代の文献には智永説（宋・朱長文『書苑菁華』）、張旭説（宋・陳思『墨池編』）などが見られる。
• Also in the literature of Song dynasty, CHI Ei theory (Song's SHU Chobun, 'Syoen Seika'), CHO Kyoku theory (Song's CHIN Shi, 'Bokuchi-hen') and so on can be found.

• 清朝になって白い紙（桃花紙）が出てくると、油煙墨を使ってピカピカになるほど上墨した拓本が生まれた。
• In the time of the Qing dynasty, when white paper was invented, the engraved print, rubbed by ink stick made from lamp soot until it became shiny, was born.

• 水墨の襖絵は後水尾上皇時代のものではなく、江戸後期の絵師・岸駒（がんく）および岡本豊彦の筆になる。
• The black ink paintings on the fusuma are not from the Retired Emperor Gomizunoo era, but they were painted by painters from the late Edo period, Ganku and Toyohiko OKAMOTO.

• 飢饉などで田畑を捨て江戸に流れ込んできた無宿者や入墨、敲等の処分を受けた軽罪人を約3年間収容した。
• It accomodated the homeless, who landed in Edo after abandoning fields because of famine, for instance, and minor offenders who received such punishments as tatoos and beating, for about three years.

• そのうち、竜田に向かった300人の指揮官が、坂本財、長尾真墨、倉墻麻呂、民小鮪、谷根麻呂であった。
• SAKAMOTO no Takara, NAGAO no Masumi, KURAKAKI no Maro, TAMI no Oshibi, and TANI no Ne Maro were involved in the troops as the commanders of the 300-member unit that headed for Tatsuta.

• 水戸街道という呼称は、現在は国道6号線の東京都墨田区から水戸までの部分の通称としても使われている。
• The name of Mito-kaido Road is now also used to refer to the part from Sumida Ward in Tokyo Prefecture to Mito on Route 6.

• 何百万年もの昔に絶滅して化石化した、化石のイカ墨で描かれた、セピア色の絵のことを思い出しましたよ。
• It reminded me of a sepia painting I had once seen done from the ink of a fossil Belemnite that must have perished and become fossilized millions of years ago.

• 昭和57年（1982年）に、御影の胎内から「法然上人御骨」と墨書きされた紙に包まれた骨が発見された。
• In 1982, a bone wrapped in paper and inscribed with black ink as 'the bone of Honen Shonin' was discovered in the body of the goei (image of a deity, Buddha, royal, noble, etc.).

• 名前の由来はその形状が中国製の墨、すなわち唐墨に似ている所から付けられたというのが定説になっている。
• It is generally believed that the name 'Karasumi' is derived from a block of sumi (ink stick) imported from China, based on the similarity of appearance.

• また磨った墨などを作り置きして使う場合は防腐剤が入っていないため大変腐りやすいので口に入れないこと。
• In addition, Chinese ink which is kept long after being ground can go bad very quickly due to the lack of preservatives; therefore, it should not be placed in one's mouth, either.

• 安土桃山時代になって豊臣秀吉らは古筆や墨跡で茶室を装飾し、文人などを招いて愛玩賞味するようになった。
• Entering the Azuchi-Momoyama period, Hideyoshi TOYOTOMI and others decorated their tea rooms with kohitsu or bokuseki, and enjoyed viewing them together with men of literature and other guests they invited.

• 画風は、現存作品から見る限りでは漢画（大和絵に対して中国風の画を指す）系の水墨画法によるものが多い。
• Judging from existing works, many of his pieces were done in the Kanga style (Chinese style painting, as opposed to the colorful Yamato-e Japanese style paintings) using the suiboku ink-wash method.

• 五経に詳しく、彩色（現在の絵具）や紙墨を作り、また碾磑（みずうす＝水力を利用した臼)も造ったという。
• He had a lot of knowledge about Five Classics and is believed to be the one who made Saishiki (now used as paints), paper, Chinese ink, and tengai (mill powered by water).

• 墨竹図・山水図を得意としたが、特に熊野山中を描いたものが多く那智滝は現在までに十数点確認されている。
• He was good at drawing bamboo groves and sansui-zu and especially draw mountains in Kumano area, and a dozen of paintings of Nachi Waterfall are authenticated by now.

• 紙本墨画親鸞聖人像（鏡御影） 附絹本著色親鸞聖人像（安城御影）・ 絹本著色親鸞聖人像（安城御影副本）
• Monochrome ink painting on paper portrait of Shinran Shonin (Kagami no Goei);Tsuketari (attachments): Color on silk portrait of Shinran Shonin (Anjo no Goei), Color on silk portrait of Shinran Shonin (Anjo no Goei copy)

• すぐ近くには「義円公園」があり、中には「墨俣川の戦いの碑」や「義円地蔵」、「源義円供養塔」などがある。
• Nearby is 'Gien Koen' (Gien Park), which contains the 'monument of the Battle of Sunomatagawa,' 'Gien Jizo,' and the 'memorial tower of MINAMOTO no Gien.'

• 最勝寺（五色不動の目黄）　明暦不動に近い墨田区にあった頃から目黄不動だったが、1913年に平井に移転。
• Saisho-ji Temple (Meki of Goshiki Fudo): This temple has been Meki Fudo from the days when it was located in Sumida Ward near Meireki Fudo but was moved to Hirai in 1913.

• また、2階部はモルタル金ゴテ仕上げとして墨色に塗り、鉄筋コンクリート造りながら味わいある建物となった。
• A portion of the second story is finished with metal trowel finished mortar and painted in black and, although the building is made with reinforced concrete, it is fairly impressive.

• 墨を塗る行為も元は縁起行為であり、墨には厄除けや殺菌効果としての病気除けの効果があると考えられていた。
• The action of painting a face with India ink also used to be an action for good luck, and India ink was considered to have an effect of protection from evil, and of protection from disease due to its antiseptic effect.

• 広くは使用されていないが、桃河緑石や松花石硯など、ピンキリだが上級品は大変墨の降り・発墨に優れている。
• Among the different grades of the ink stones, the superior Tao River stone and Songhua stone suzuri have excellent grinding and coloring qualities for the ink stone although they are not well used.

• 小筆の穂先は特に繊細なため、陸（墨を磨る部分）で穂先をまとめるために強くこすりつけることは極力避ける。
• Since the top of a small brush is especially delicate, it is better to avoid brushing it against the riku (a part of the ink slab used to grind an ink stick) in order to set the top as much as possible.

• 輪郭線を用いず、山の大体の形や木の枝幹を墨のぼかしで作り、その上に墨の点を重ねてかきあげる方法である。
• The technique is not to use lines showing the outer edges but use ink shading to form the shape of mountains and the branches and trunks of trees and then make several layers of spots on the shading.

• これに伴い写経が盛んになり、また高麗の僧、曇徴が紙や墨の製法を伝えたことにより、書道は急速に発展する。
• Then Buddhist scriptures were copied widely, and additionally because Damjing, a priest in Goryeo, brought to Japan the methods of manufacturing paper and ink sticks, calligraphy developed rapidly.

• しかしながら、御家流全盛の時代にも唐様を書くものがあり、その多くは文人墨客・儒学者・医師などであった。
• However, even when the Oie style was dominant, there were persons who wrote in Chinese styles, with most of them being writers, artists, Confucians and doctors.

• 三日月藩札として現存最古のものは、文化14年（1817年）に発行した手書き墨書の銭札（銭匁札）である。
• The oldest existing han bill of Mikazuki Domain was a zenisatsu (zenimonmesatsu) handwritten in ink, which was issued in 1817.

• 前軍別将は安倍媛嶋墨縄、左中軍別将は池田眞枚、後軍別将は丈部善理で、その兵数は27,470人であった。
• The officers of the irregular forces were as follows: that of the front guard was ABE no Sashima no Suminawa, that of the left-middle guard was IKEDA no Mahira, and that of the rear guard was HASETSUKABE no Yoshimaro, while the total number of solders was 27,470.

• 雪村（せっそん、永正元年（1504年）？ － 天正17年（1589年）頃）は、室町時代後期の、水墨画家。
• Sesson (ca. 1504-1589) was a suiboku (ink-wash painting) painter who lived in the late Muromachi period.

• 明治20年代、小学校教員をしていた田口精爾が冬場に冷たい水で墨をする生徒達を見て液体の墨を作る事を発起。
• During the 1880's, Seiji TAGUCHI, an elementary school teacher, came up with the idea of making liquid sumi when he saw his students grinding sumi with cold water during winter.

• 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。
• 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.

• 米法山水（べいほうさんすい）は、中国、宋代の文人画家、米芾・米友仁父子が始めたと伝えられる水墨山水画法。
• the Mifa shanshui is a style of Sansui-ga (Chinese-style landscape painting) with ink that Futsu BEI and his son Mi Youren, literati painters during Sung dynasty in China, are reported to have started

• 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。
• 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.

• そのため、通信使の宿泊先には多くの日本の文人墨客が集まり、大いに交流がなされるという副産物をもたらした。
• Therefore, many Japanese writers and artists visited the places where Tsushinshi stayed, also generating the byproduct that cultural exchanges among peoples of the two nations were made actively.

• 単に印を押すだけでなく、その下に墨書で寺社名や参拝日などが書かれ、その墨書も含めて「御朱印」と呼ばれる。
• In addition to making an impression, information such as the name of the temple and the date of visit is written in ink below the impression, and the impression together with the ink writing are collectively called 'goshuin.'

• さらに、溝からは墨書土器を含む多数の土器が出土しており、相当数の人間が生活していたことが想定されている。
• Moreover, many people were thought to live there because many types of earthenware, including pieces with ink writing, were excavated from ditches.

• 流通期間が長いことから墨書きの書き改めも頻繁に行われたため、後藤家六代に亘る墨書が存在することになった。
• Since it was in circulation for a long period, the ink writings on the surface had to be regularly renewed, resulting in the ink writings by six genererations of the Goto clan.

• 同年3月、尾張国墨俣川に平重衡、平忠度と共に源行家を破り、従二位右中将・蔵人頭となり小松中将と呼ばれる。
• In April of the same year, Koremori, together with TAIRA no Shigehira and TAIRA no Tadanori, defeated MINAMOTO no Yukiie in the Battle of Sunomata-gawa River in Owari Province, which earned him Junii (Junior Second Rank), and the posts of U-Chujo (lieutenant general of the Imperial Guards of the Right) and Kurodo no to (head chamberlain), which made people call him Komatsu no Chujo (literally General of the small pines).

• そこから鴨川東岸、東山の山麓を南下して、東福寺、伏見稲荷大社の前を通り、墨染の交差点で墨染通を西に進む。
• Starting from that point, it runs south down a mountain in Higashiyama on the east bank of the Kamo-gawa River, passes in front of Tofuku-ji Temple and Fushimi-Inari Taisha Shrine, goes into the Sumizome-dori Street, and runs west at the Sumizome Crossing.

• 雪舟と同じく周文に師事した墨谿筆の達磨図で、衣服にみる力強く野太い筆線描写は墨谿画の特徴のひとつである。
• An image of Bodhidharma painted by Bokkei who, like Sesshu, also studied under Shubun which features one of his main characteristics of using powerful, bold lines used to depict clothing.

• 代表作は、「山水長巻」「夏冬山水図」「天橋立図」「破墨山水」「慧可断臂の図」「秋冬山水」「花鳥屏風」など。
• Representative works include: Long Landscape Scroll, Summer and Winter Landscape, View of Amanohashidate, Broken Ink Landscape, Portrait of Ekadanpi, Fall and Winter Landscape, and Folding Screen of Birds and Flowers of the 4 Seasons.

• 墨で、表の南面には、荒海の中島に手長人、足長人のいる図、裏に、宇治の網代で氷魚をすなどる図がかいてあった。
• On the south side of its front, it had black ink pictures of a Tenagajin (man who has long arms) and an Ashinagajin (man who has long legs) on an island in a rough sea, and on the back, a picture of a Hiuo (sweetfish fry) fisherman in an ajiro (wickerwork) in Uji.

• 「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。
• The term, 'haboku' is used to generate an effect similar to shed an ink by crossing ink lines.

• 官衙施設に関係する大型建築跡や墨書土器、祭祀遺物などの出土遺物により、多数の官衙関係遺跡が発見されている。
• Many remains related to kanga (government office) have been found by findings of excaveted remains such as massive building construction ruins, an ink writing earthenware and Saishi (religious service) vestige which related to kanga facilities.

• 1812年秋頃、後援者で門人の牧墨僊（1775年～1824年）宅に半年ほど逗留し300余りの下絵を描いた。
• Around the autumn of 1812, he stayed at the home of Bokusen MAKI (1775 to 1824), Hokusai's patron and pupil, for approximately a half year and drew over 300 sketches.

• 明治20年（1887年）、「墨堤植桜之碑」の碑文を書しているが、後にこの碑は墨田区登録文化財に認定された。
• He engraved inscriptions on 'Bokuteishoku-sakuranohi' (monument of cherry trees on the bank of Sumida River), the stone monument, in 1887; this stone monument was certified as a registered cultural property of Sumida Ward later.

• その上、彼らの知行地に関する約束事など子々孫々に至るまでその待遇を保障するという特異な御墨付きまで与えた。
• Moreover, Ieyasu even gave them his special approval that he would guarantee the treatment to their remotest descendants including the rules about their chigyo-chi (territory).

• 伏見街道の道のりは、墨染の交差点で西に折れるが、直違橋通はそのまま南下し、津知橋通で国道24号と合流する。
• Though the route of the Fushimi-kaido Road bends west at the Sumizome Crossing, the Sujikaihashi-dori Street continues south from the crossing and merges with the National Highway Route No. 24 at the Tsuchihashi-dori Street.

• あなたに書きおくりたいことはたくさんあるが、墨と筆とで書くことはすまい。 (ヨハネの第三の手紙 1:13)
• I had many things to write to you, but I am unwilling to write to you with ink and pen; (3 John 1:13)

• 2004年度秋期特別展「白隠　禅画と墨蹟—新出龍雲寺コレクション—」（2004年10月25日〜11月27日）
• Special exhibition in the autumn of fiscal year 2004, 'HAKUIN, zen paintings and Indian-ink drawings: newly found Ryuun-ji Temple collections' (October 25 to November 27, 2004)

• この『平沙落雁図』にはまだ水墨画の画法をこなしきれていない稚拙な部分があり、遠近感の表現なども十分ではない。
• In this 'Heisa-rakugan-zu' there is an amateurish part that shows the artist could not fully master the brushwork of Suiboku-ga, and it also suffers from perspective problems.

• 胡粉などの顔料、膠、硯、墨、絹、和紙、刷毛、付立筆や彩色筆等の筆、陶磁器の筆洗（ひっせん）などが必要である。
• Pigments such as shell lime as well as glue, ink slabs, ink sticks, silk, Japanese paper, paint brushes, tsuketate-fude (paint brushes), coloring brushes and ceramic brush washers and other items are needed.

• 向島 (墨田区)長命寺 (東京都墨田区)の門番、山本新六がその葉を使った餅を作リ、売ったものが最初とされる。
• At that time Shinroku YAMAMOTO, the gate keeper of Chomei-ji Temple in Mukojima, Sumida Ward, Tokyo started making and selling sakuramochi using the cherry leaves taken from the cherry trees planted on the bank of Sumida-gawa River.

• 主に「三阿弥」と称された水墨画絵師であった能阿弥、芸阿弥、相阿弥および、彼らの画風に影響を受けた絵師を指す。
• It mainly refers to Noami, Geiami and Soami, who were Suibokuga (ink-wash painting) painters and called 'Sanami' (three great artists of the Ami school), and the painters influenced by their painting style.

• 墨の製造で使われるゼラチンには、動物の骨や皮、腱などから抽出したコラーゲン（動物性タンパク質）が用いられる。
• Collagen (animal protein) extracted from animal bones, skin and tendons is used for gelatin in the production of sumi.

• 一方、2000年にならや本舗が昭和初期の松煙を使用した手作りによる松煙墨を製造・発売し、現在も販売している。
• Meanwhile, Naraya Honpo, in 2000, started to produce and sell the handmade ink sticks made from burnt pine, and it still sells the ink sticks.

• 生駒氏の讃岐統治時代、義兼の孫三好義浄は生駒氏より政所のお墨付きを授かり、以後代々作右衛門を名乗ったという。
• During the period of the rule by Ikoma clan, Yoshikiyo MIYOSHI, the grandson of Yoshikane was given the endorsement of Administrative Board from Ikoma clan, and after that it is said that the family named Sakuemon successively.

• 量目は墨書通り当時の京目一両すなわち4匁5分であり、現存品の実測値である16.7～16.9グラムと符合する。
• Its ryome (a weighed value) is Kyome (old Japanese unit of measure used around Kyoto) or 4 monme 5 bu as instructed in ink equivalent to the actual measurement value, 16.7 to 16.9 gram, of the one exists now.

• 彼の脳裏に残った故郷の風景と牧谿の技法と結びついて、このような日本的な情感豊かな水墨画が誕生したと言えよう。
• This ink painting, full of Japanese sensitivity, must be the fruit of the combination of the scenery of Tohaku's birthplace still in his mind and the technique of Mokkei.

• 他に九州国立博物館蔵の『山水図』双幅、個人蔵の水墨の『山水図』、個人蔵の『崖下布袋図』などが古来著名である。
• Historically, other famous works include 'Sansui-zu' (Landscape) at the Kyushu National Museum, and 'Gaika-Hotei-zu,' which is privately owned.

• 大画面の装飾的な屏風絵から、水墨画まで作風は多彩だが、どの作品にも都会的センスとデザイン感覚があふれている。
• His style is varied with huge decorative folding screen painting to water ink painting, and all of his works were overflowing with sophisticated design.

• 重衡は行家らを伊勢と尾張の国境墨俣川の戦いにて打ち破り尾張を制圧するが、それ以上は東に兵を進めず都に戻った。
• Shigehira defeated Yukiie and others in the Battle of Sunomatagawa that happened at the border of Ise and Owari, and gained control of Owari but Shigehira went back to capital without going any further eastward.

• 大燈国師墨蹟-宗峰妙超（大燈国師）が弟子の関山慧玄（妙心寺開山）に「関山」の号を与えたときに書き与えたもの。
• Writing of Daito-kokushi - Written by Shuho Myocho (Daito-kokushi) to his student Kanzan Egen (Myoshin-ji kaisan) when he conferred upon him the name 'Kanzan.'

• 亀裂の入った部分を粘土で埋め紙を張って墨を塗った部分などがあり、大幅な補修が加えられていることは確かである。
• Cracked parts are covered with clay and then paper, and then painted with Indian ink, so it is certain that it has undergone extensive repairs.

• 死人のために身を傷つけてはならない。また身に入墨をしてはならない。わたしは主である。 (レビ記 19:28)
• ''You shall not make any cuttings in your flesh for the dead, nor tattoo any marks on you. I am Yahweh. (Leviticus 19:28)

• 墨一色で表現した絵画は、日本では正倉院宝物の「墨画仏像」のような奈良時代の作例があり、古代から制作されていた。
• Paintings only in Sumi were produced since ancient times such as 'Sumiga-butsuzo' during the Nara Period, a treasure of Shosoin.

• 除目の儀は、行事を通じて、たとえば紙の折り方や墨の磨り方にいたるまで非常に細かい作法が決められた儀式であった。
• For the ceremony of jimoku, very minute rules were established through the event, including the way of a sheet of paper was to be folded and the way in which caked ink was scrubbed.

• しかし、床にかけられた禅僧の虚堂智愚の墨蹟を読みながら自己の無実を述べたので、信長は一鉄の無罪を信じたと言う。
• However, Ittetsu spoke his innocence while reading bokuseki (wrinting) on the wall by a Zen priest Kido Chigu and therefore Nobunaga believed that Ittetsu was not guilty.

• 伏見区墨染町）に通じていることから、かつては墨染通（すみぞめどおり）と呼ばれたが、現在はあまり使われていない。
• It was once also called Sumizome-dori Street, because it leads to Sumizome-cho Fushimi Ward--the name is rarely used today.

• なお、大仙院旧方丈障壁画のうち、衣鉢の間にあった墨画の禅宗祖師図など24幅は東京国立博物館の所蔵となっている。
• Of the former sliding panel paintings of the abbot's quarters, 24 panels including the ink painting 'Zenshu Soshi-zu' (image of the Zen Sect founder) that were in the Ihatsu no ma room are now in the possession of Tokyo National Museum.

• 中国・宋代の禅僧・密庵咸傑（みったんかんけつ）の現存唯一の墨蹟とされる（「墨蹟」は禅宗高僧の筆跡を指す用語）。
• Believed to be the only surviving work of calligraphy by Chinese Song Dynasty Zen monk Mi'an Xianjie ('Mittan Kanketsu' in Japanese) ('bokuseki' refers to the handwriting of a high-ranking Zen priest).

• 1988年から1993年にかけて造像以来初めての解体修理が実施され、像内からは多数の納入品や墨書が発見された。
• Between 1988 and 1993 the statues were taken apart and repaired for the first time after their construction, and many goods and ink writings were found stored inside.

• 穴師坐兵主神社（奈良県桜井市）摂社の相撲神社、野見宿禰神社（兵庫県たつの市、東京都墨田区）などに祀られている。
• Shrines which are sacred to NOMI no Sukune include Sumo-jinja Shrine which is an auxiliary shrine of Anashinimasuhyozu-jinja Shrine (Sakurai City, Nara Prefecture) and NOMI no Sukune-jinja Shrine (Tatsuno City, Hyogo Prefecture, and Sumida Ward, Tokyo).

• 椿の造花を枝に指したり、紙衣の上に重衣という墨染めの衣を初めて着る「衣の祝儀(2月27日)」などがおこなわれる。
• They put imitation flowers of camellia in branches and 'the ceremony of a clerical robe (on February 27),' where they wear a cloth dyed with India ink, called Egoromo (a black robe), on their kamiko, and so on are held.

• 中国における水墨画表現は唐時代末から、五代十国時代～宋 (王朝)時代初め（9世紀末～10世紀）にかけて発達した。
• The expression of Suiboku-ga in China had developed from the end of the Tang Period to the Godai-Jikkoku Period and Sung (Dynasty) (from the end of the 9th century to the 10th century).

• 日本の水墨山水画のうち、もっとも初期の作とされるものは、「思堪」という印章のある『平沙落雁図』（個人蔵）である。
• Among the Sansui-ga of ink printing in Japan, the most earliest work seems to be 'Heisa-rakugan-zu (painting of descending geese over a sandbar)' (personal possession) with a seal of 'Shitan.'

• また水の量や硬水・軟水など水の硬度、紙との相性、書く日の気温や湿度によっても墨色や墨の広がりなどが変わってくる。
• Furthermore, the amount of water and the quality of the water, such as whether the water is hard or soft, compatibility with the paper, temperature and humidity of the day when the sumi is used all affect the color of the sumi as well as how the sumi expands.

• 各帖には彩色下絵、金銀の箔、雲母（きら）刷りの地紋、墨流し、破り継ぎなど、あらゆる料紙装飾技法が駆使されている。
• Every and all paper decoration techniques, such as colored preliminary sketch, gold leaf and silver leaf, mica-printed jimon (textile pattern), suminagashi (pattern made with ink drop) and yaburitsugi (Heian-style collage technique to decorate poetry sheets), were employed in producing each book.

• さらに、鉱物性煙はもちろんだが、松煙や油煙の植物性煙の製煙も機械化され、墨色が単調になり、光沢の品位も下がった。
• In addition, not to mention the smoke from mineral materials, the making of ink sticks using smoke from burnt pine and plant-derived smoke was mechanized, and as a result the ink black became monotonous and the luster deteriorated.

• 墨気が抜けたうえに入墨も多く一見不鮮明であるが、西川寧は、王羲之の真跡に最も近い双鉤填墨本であると評価している。
• Despite the fact that it is a seemingly unclear copy with no outpouring of vitality perceived from the writing and with many parts added with ink later, Yasushi NISHIKAWA evaluated it as the closest sokotenbokuhon (copy of handwriting) to Wang Xi-Zhi's Shinseki.

• 慶長小判武蔵墨書小判（むさしすみがきこばん・むさしぼくしょこばん）（文禄4年（1595年）頃、4.8匁、84%）
• Keicho koban musashisumigaki koban (around 1595, 4,8 monme, 84%)

• また墨書が消えた場合、大判座へ持ち込み、銀三匁五分、文政2年（1819年）以降は金一分の手数料で書改めを受けた。
• In addition, when a coin's seal mark written in ink faded away, people brought it to an obanza (place to mint Oban) and the writing in Indian ink could be rewritten with the fee of three monme and five bu of silver, or one bu of gold after 1819.

• 寿永3年（1184年）1月6日、鎌倉の軍勢が墨俣町を越えて美濃国へ入ったという噂を聞いて、義仲は大いに畏怖する。
• On January 6th, 1184, Yoshinaka had a great deal of fear upon hearing a rumor that the troops of Kamakura crossed Sunomata-cho and entered Mino Province.

• 義経の軍と義仲の軍は淀川で対陣し、高綱は生食、景季は磨墨に乗って一番乗りの功名を立てんと川に乗り入れようとした。
• When the Yoshitsune's army and Yoshinaka's army faced each other at the Yodo-gawa River, Takatsuna on Ikezuki and Kagesue on Surusumi tried to go into the river to be the first to tackle the enemy.

• 牧谿のモチーフの中でも猿は非常に人気があり、雪村や式部輝忠といった関東水墨画の絵師たちも多くの作品を残している。
• A monkey was especially popular among the motives of Mokkei, and many of the painter of Kanto suibokuga, such as Sesson and Terutada SHIKIBU, painted a monkey.

• 天守の外壁は黒漆または黒墨や柿渋塗りの下見板張（したみいたばり）と漆喰塗籠（しっくいぬりごめ）の大壁仕上げがある。
• Exterior walls of Tenshu were decorated by Shitamiita-bari (weather-board lined) of black lacquer, Kuroboku soils (black soils rich in humus content) or persimmon juice coatings, or Okabe finishing of Shikkui-nurigome (solid plastered fire-resistant wall).

• 江戸時代には、料理屋でも寺院の下請けで仕出したり、仏教活動とは無関係に文人墨客向けに調製することが多くなっていた。
• In the Edo period, there were many restaurants that supplied Fucha ryori cuisine to temples as outside contractors or which cooked for writers and artists, with no relationship to Buddhist activities.

• 室町時代の文化には仏教に影響された水墨画・書院造・茶道・生け花・枯山水の庭園など、後世に残る多くの作品が生まれた。
• The culture of the Muromachi period also saw the birth of many aspect of Japanese culture that remain today, including 'suibokuga' ink-wash painting, the 'shoin-zukuri' style of residential architecture, the Japanese tea ceremony, ikebana flower arrangement and dry landscape gardens.

• 中国で唐代後半に山水画の技法として成立し、宋代には、文人官僚の余技としての、四君子（松竹梅菊）の水墨画が行われた。
• It was established as a technique for Sansui-ga (landscapes painting) in China in the latter part of Tang, and in Song, Suiboku-ga of Shikunshi (four plants of high virtue) (pine, bamboo, plum, and chrysanthemum) were painted by bunjin-kanryo (government officials of letters).

• 丑＝鰻二匹説 - 平仮名で墨汁を使って毛筆で書いた「うし」と言う文字が、まるで二匹の鰻のように見えたからと言う説。
• An ox = two eels theory: The Japanese syllabary characters meaning an ox ('うし'), which were written on something with a brush and India ink, looked like two eels, so they became the origin of the custom, this theory states.

• 前項のように、筆は使うほどに本来の筆の持つ能力が引き出されてくるが、それには墨の選び方や洗い方も大事になってくる。
• As mentioned above, a fude works better the more it is used, and to this end it is important to know in how the fude is selected and washed.

• 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。
• 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.

• 天下統一に先立ち、徳川家康は大判より小型のもので墨書を極印に改め一般流通を想定した通貨を発行する構想を持っていた。
• Before his unification of the whole country, Ieyasu TOKUGAWA had planned to issue a form of currency for general distribution that would be smaller than the oban and would have an engraving instead of ink writing.

• 文房で古書画の鑑賞に浸り、墨を擦り、詩を詠じ、友と酒を酌み交わして清談に耽ることが文人の理想的な文房生活といえる。
• It can be said that an ideal life at Bunbo for Bunjin was to devote himself to the appreciation of old calligraphic works and paintings, making black ink, making a poem and having seidan (noble conversations) with friends over drinks.

• 実際には、頼朝の時代に源義経をはじめ、24人の東国御家人が自由任官をし、墨俣以東に入ることを禁ぜられた事例がある。
• Actually there were a case in which 24 shogunal retainers of the eastern provinces (Togoku) inclulding MINAMOTO no Yoshitsune in the time of MINAMOTO no Yoritomo, were appointed directly and were forbidden to go east of Sunamoto (Gifu).

• しかし元治元年（1864年）6月頃、幕吏に捕えられ入墨のうえ京洛追放、と同時に土佐藩吏に捕われ国もとへ搬送される。
• However, around June of 1864, he was captured by a shogunate official, and on being tattooed, he was banished from the capital Kyoto; at the same time, an official of the Tosa Domain captured him, and deported him to his hometown.

• 2007年7月、所蔵する掛軸「親鸞聖人影像（花の御影）」の下部の軸木に、下記のように墨書されているのが発見される。
• In July 2007, on the lower roller of the hanging scroll 'Shinran Shonin eizo (Hana no goei)' (image of Shinran Shonin (image of a flower), the following ink writings were discovered.

• 天井石に石棺と同質の黄土色の流紋岩質溶結凝灰岩が使用され、壁石には緑泥石片岩、石墨片岩などの結晶片岩が使われている。
• For the stones for the ceiling, ocher rhyolitic welded tuff is used, and crystalline schist, such as chlorite schist and graphite schist, is used for the stones for the walls.

• 水墨画（すいぼくが）とは、「墨」一色で表現される絵画で、墨線だけでなく、墨を面的に使用し、暈かしで濃淡・明暗を表す。
• Suiboku-ga (ink painting) is the art of painting in just one color using 'Sumi (Japanese ink),' not only for painting lines, but also gradation showing contrasting density and lighting.

• 鎌倉時代の絵巻物に表現された画中画を見ると、当時、禅宗以外の寺院の障子絵などにも水墨画が用いられていたことがわかる。
• Gachu-ga (a pictorial work that appear within a painting as part of the overall composition) expressed in Emakimono during the Kamakura Period shows that Suiboku-ga was adopted for Shoji-e (paintings on shoji paper sliding-door or Fusuma) in the temples other than those belonging to the Zen sect.

• この唐風の異形の怪人を描いた墨絵の障子は、衝立て障子ではなく、引き違いの障子、すなわち襖障子であったと見られている。
• This Shoji on which a strange mysterious person in Chinese style was drawn by ink painting is considered to be a sliding screen or Fusuma Shoji rather than Tsuitate shoji.

• 昭和42年煎茶道文化黄檗遺墨展開催、昭和45年日本万国博覧会に参加、昭和48年-昭和52年、5年連続ハワイ茶会開催。
• The association held an exhibition of Senchado culture and calligraphy left by departed Obaku monks in 1967, participated in the Japan World Exposition in 1970, and held a tea ceremony in Hawaii for five years consecutively from 1973 to 1977.

• 古墨（こぼく）とは、文房四宝における墨の中で、製造されてから長い年月を経ているものをいい、品質の良い墨とされている。
• Koboku is the ink stick that has gone through the years among Bunboshiho (four stationary goods for calligraphy; writing brush, ink, ink stone and paper), and is recognized as a good quality ink stick.

• 市川團十郎 (初代)が、坂田金時 の息子である英雄坂田金平役の初舞台で紅と墨を用いて化粧したことが始まりと言われる。
• It supposedly started when Danjuro ICHIKAWA (first generation) put a make-up with lipstick and charcoal as the role of hero Kinpira SAKATA, who was the son of SAKATA no Kintoki.

• また、数珠を切り刀を引っさげての入りでは雲竜の墨絵模様の帷子を着るが、これは団七の刺青を引き立てるための演出である。
• Moreover, when he entered cutting the beadroll and wearing a sword, he wore a shroud with a dragon in the clouds drawn in Japanese ink painting, and this staging emphasizes Danshichi's tattoo.

• 棟木の墨書銘から永暦2年（1161年）の建造であることが判明した（ただし、それ以前の前身堂の部材も再用されている）。
• It was identified as architecture of 1161 through the ink inscriptions of ridgepoles (materials of the hall that had stood there prior to that time were also used).

• 天明6年（1786年）、江戸本所 (墨田区)の竪川 (東京都)の五ツ目に渡し船の株を持って業としていた家に生まれた。
• In 1786, he was born into a family which lived by owning stocks in Watashibune (a ferry) bussiness at Itsutsume in Tatekawa, Edo Honjo (Sumida Ward, Tokyo).

• 現在の京阪墨染駅の西側に、深草大島屋敷町という地名があるが、これは大島光義の伏見屋敷があった地であることに由来する。
• At present, to the west of Keihan Sumizome Station, there is an area called Fukakusa Oshima Yashiki-cho, and this name derived from the fact that once there was Mitsuyoshi OSHIMA's Fushimi Yashiki (residence), there.

• 中国の水墨画が写実表現の追求から自発的に始まったものであるのに対し、日本の水墨画は中国画の受容から始まったものである。
• While Suiboku-ga in China originated from pursuit of realism autonomously, Suiboku-ga in Japan began from the acceptance of Chinese paintings.

• 一例として指の腹などで墨を磨り直し、粒子を細かくするなどして、好みの墨色に合わせるなど、いろいろな方法が取られている。
• Various methods are used such as, grinding sumi with the tip of a finger to create fine particles to adjust the desired ink color.

• しかし他方で「台子」や「墨引」では、書院で用いる台子の飾りに関して、「カネワリ法」と呼ばれる煩雑な規則を詳述している。
• On the other hand, 'Daisu' and 'Sumibiki' describe the details of the complicated rules called the 'kanewari measurement system' for arranging utensils on daisu used in shoin.

• たとえば、立候補をした際に左目玉を墨で入れ、当選後に右目玉を墨で入れる「選挙だるま」のほとんどが高崎で生産されている。
• For example, Takasaki City produces almost all of 'Election Daruma' dolls, in whose left eye a politician paints in black ink when running for an election, and at the victory in the right eye in black ink.

• 朱引きは明治以降も存続し、数度の改正を経て、最終的には旧墨引に近い形となり郡区町村編制法施行時に旧東京15区となった。
• The practice of 'shubiki' continued into the Meiji Period; After several revisions the shubiki areas assumed a shape similar to those of sumibiki areas, and the administrative boundaries of the fifteen wards of Old Tokyo were finalized in accordance to the promulgation of the County-Ward-Township-Village Organization Act.

• 伝承では治承5年（1181年）の墨俣川の戦いに兄たちと共に参戦し戦後捕虜として平家方に拘束された後に殺害されたという。
• According to legend, he is said to have participated in the Battle of Sunomatagawa with his brothers in 1181, been held as prisoner of war after the battle by Heike and eventually killed.

• 絹本墨画淡彩聖一国師（円爾）像 － 無関普門の師である円爾（えんに）自賛の像で、円爾自賛像としては最初期のものである。
• Monochrome ink and light colored painting on silk portrait of Shiichi Kokushi (Enni): A self-inscribed portrait of Enni, Mukan Fumon's master, which is believed to be the earliest self-inscribed portrait of him.

• それは芝生の横にある、物置の真黒い扉の上に、白墨で画かれたものでしたが、私のところの正面の窓から目に止まったのでした。
• They had been drawn in chalk upon the black wooden door of the tool-house, which stands beside the lawn in full view of the front windows.

• フランス人は戦うための剣ではなく、宿舎に印を付けるための白墨を手にして、イタリアに侵入した、という言葉は真実なのだ。」
• That the Frenchmen came into Italy with chalk in their hands, to mark up their lodgings, rather than with swords to fight.'

• 江戸時代に入り、現在世界遺産に登録されている元興寺境内に様々な産業（筆、墨、蚊帳、晒、布団、刀、酒、醤油等）が発展した。
• In the Edo period, various businesses (such as making brushes, ink, mosquito nets, bleached cotton cloth, futon (Japanese-style bedding), swords, sake liquor and soy sauce) developed on the premises of Gango-ji Temple which is now registered as the world heritage.

• 「たとえば、三千大千世界のあらゆる地種を、仮に人ありて磨（す）りて墨となし、東方の千の国土を過ぎて、乃ち一点を下さん。]
• 'Suppose, for example, that someone took all the earth particles in the thousand-million-fold world and ground them up to make ink powder, and as he passed through the thousand lands of the east, he dropped one grain of the ink powder.'

• 「たとえば、三千大千世界のあらゆる地種を、仮に人ありて磨（す）りて墨となし、東方の千の国土を過ぎて、乃ち一点を下さん。」
• For example, suppose the all the seeds (a metaphor for Buddhism-style galaxies) in the Sanzen Daisen Sekai are ground to ink, even if you visited 1,000 Eastern galaxies, you will only draw a dot.'

• 15世紀の後半には、水墨画家としてのみならず、著名な画家の一人である雪舟（1420 - 1502/1506）が登場する。
• In the latter part of the 15th centuries, Sesshu (1420 - 1502/1506), one of the famous painters, not only as a Suiboku-ga painter, appeared.

• 紙本墨書の『芦手絵和漢朗詠集抄』全2巻（京都国立博物館所蔵）は、芦手絵を描いた料紙に『和漢朗詠集』を書写したものである。
• All two scrolls of 'Ashide-e Wakan Roeishu Sho' of shihon bokusho (ink on paper) (possessed by Kyoto National Museum) were copied from 'Wakan Roei Shu', (Collection of Sung Japanese and Chinese poems) on ryoshi (paper for writing) on which Ashide-e was painted.

• 江戸幕府の基本政策である治水や埋め立て、町場の整備の一環として飛鳥山公園や墨田川堤などへ桜の植樹をしたことでも知られる。
• It is also known that he conducted flood control and land reclamation, basic policies of the Edo bakufu, and planted cherry trees in Asukayama Park, a bank of Sumida-gawa River, and other places as a part urban improvement.

• 「会津 新選組隊長 近藤勇」「勤勉 努力 活動 発展」と墨書されているが、一説には、周平が落書きしたものとする説がある。
• The words written with a brush are '会津 新選組隊長 近藤勇' (Aizu Shinsengumi Commander Isami KONDO) and '勤勉 努力 活動 発展' (diligence, effort, activity and development), which, according to one view, was written by Shuhei.

• 私の非常に高貴でお墨付きの善良なる師は、あなたも知っての通り、嫉妬深い妻の媚薬によって頭に沸きだす猥褻なことに脅かされ、
• My very noble and approved good master had, as you know, threatenings of lewdness introduced into his brain by his jealous wife's philter;

• しまいには赤シャツまで出て来たが山嵐の机の上は白墨（はくぼく）が一本竪（たて）に寝ているだけで閑静（かんせい）なものだ。
• and finally Red Shirt, but for Porcupine there was a piece of chalk on his desk but the owner was not there.

• 書道の面から見ると、江戸時代に国学者高橋道斎によってその価値を全国に紹介され、その後多くの文人、墨客が多胡碑を訪れている。
• In a calligraphic aspect, since Dosai TAKAHASHI, a Japanese classical scholar in the Edo period introduced its value, many writers and artists have visited Tago hi.

• だが、1987年（昭和62）には明日香村雷（いかずち）近辺の「雷丘東方遺跡」で「小治田」と墨書された土器破片が見つかった。
• In 'Ikazuchi no Oka Toho site' around Ikazuchi, Asuka Village, an earthenware fragment with ink inscription of 'Oharida' was found in 1987.

• その画風は、同時代人の土佐光信の伝統的な大和絵風とは対照的に、水墨を基調とし、中国宋・元の画法を元にした「漢画」であった。
• His painting style was 'kanga,' with ink painting based on the brushwork of Sung and Yuan in China, in contrast to the traditional Yamatoe of his contemporary, Mitsunobu TOSA.

• 万年紙は、透明な漆を塗布した紙で、墨筆で書くメモ用の紙で、湿った布で拭けば墨字が消え、長年に使えるので万年紙の名ががある。
• The mannen-gami (eternal paper) is a memo paper coated with a transparent Japanese lacquer and written on with a writing brush, and as it's name indicates from its characters, a letter written in sumi comes off when it is wiped with a damp cloth and it can be used for many years.

• 職人が硯を作るときには、墨を入れる海ともりあがっている陸の間の、滑らかなカーブ状の場所を削るのが、最も苦労する場所となる。
• For a craftsman, plaining the smooth curve between umi, which stores ink and raised riku is the most difficult part.

• 破り継ぎ、金銀の切箔・砂子、墨流しなどさまざまな料紙装飾を施した華麗な冊子に三十六歌仙の和歌を散らし書きにしたものである。
• Waka of the Thirty-six Immortal Poets were discretely written in a gorgeous book with various ryoshi decorations such as yaburitsugi (a Heian-style collage technique used to decorate poetry sheets), kirihaku (decorative metal pattern on sculptures or paintings), fine powder in gold and silver, suminagashi (a marbleized pattern produced by dropping black ink on damp paper; frequently used during the Heian period on poetry sheets) and so on.

• 道三堀は墨田川河口から江戸城の傍まで、城の建造に必要な木材や石材を搬入するために活用され、道三堀の左右に舟町が形成された。
• The Dosan canal was used to transport timber and stone building materials required for the construction of the castle from the Sumidagawa estuary up to the Edo Castle, and a funamachi (riverine port town) was built one both banks of the canal.

• また、巻軸には書写の3年前の治承4年（1180年）に兵火で焼失した東大寺の焼け残りの木を用いたことが軸木の墨書からわかる。
• It is known from the writing on the scroll roller that the centers of the scrolls are made from the wood that remained after Todai-ji Temple was destroyed by fire during a conflict in 1180, three years before the transcription was begun.

• また、特殊な技法として、墨を水面に流した上に松脂を滴して、墨を水面に散らしこれを紙に写し取る、「墨流し」という技法もあった。
• In addition, there was another method called 'suminagashi,' to disperse floating sumi by dropping resin on the water surface and print it on a paper.

• 墨摺絵に赤い顔料で着色した丹絵（たんえ）、紅絵（べにえ）、さらに紅絵に緑色など二、三色加えた紅摺絵（べにずりえ）が登場する。
• There appeared Tan-e and Benie, which colored Sumizurie with red pigment; there was also Benizurie, in which adding few additional colors, such as green on Benie.

• 日墨修好通商条約（にちぼくしゅうこうつうしょうじょうやく）とは、1888年11月30日に日本とメキシコの間で締結された条約。
• Japan-Mexico Treaty of Amity, Commerce, and Navigation is a treaty concluded between Japan and Mexico on November 30, 1888.

• しかし印面はまさしく「琴山」で、どの印もどの印も印面が墨で汚れており、極札の発行に所用されたものであることがわかったという。
• But 'Kinzan' was engraved in the face of each seal and all of them were smeared with ink, therefore, he thought that they were used to issue Kiwame fudas.

• この縁により、父の義円が墨俣川の戦いで戦死した後は同地において養育され、長じた後は愛智蔵人を名乗り愛智氏の祖となったという。
• It is said that, in this connection, after his father Gien was killed in the Battle of Sunomatagawa, he was brought up in this place; and when he arrived at manhood, he called himself Kurodo AICHI and became the first generation of the Aichi clan.

• 明治時代には、深草から大亀谷、八科峠を経て六地蔵までの道（現在の墨染通）とあわせて、「郡山街道」の一部として位置付けられた。
• During Meiji period, this road, along with the section from Fukakusa, passing through Okamedani and Yashina-toge Pass and onward to Rokujizo (present-day Sumizome-dori Street), was regarded part of 'Koriyama-kaido Road.'

• 1818年には江戸の範囲が地図上に赤い線（朱引）で正式に定められたが、同時に町奉行の管轄する範囲も黒い線（墨引）で示された。
• In 1818, the Edo area was officially specified on a map with a red line (called shu-biki), and at the same time, the area to be controlled by the machi-bugyo was shown with a black line (called sumi-biki).

• ネットや定まった大きさのコートなどはないが、打ちそこなった場合は失点とされ、顔に墨でバツ印などの落書きをされる罰が与えられる。
• Although nets are not used, and the size of the court is not prescribed, a failure to hit Hane is regarded as a loss, and a failing player receives a penalty of putting an X mark on the face with India ink.

• 現在では古来のままの伝授形式を墨守している流派は少なくなり、現代武道的な段位制度や集団指導方法を取り入れている流派も存在する。
• Nowadays, very few schools adhere to the time-honored initiation form, and there exist some schools that have adopted the dan grading system or the group-class lesson method like gendai budo.

• だが、北宋時代に改良が加えられてより丈夫になり、また王安石や蘇軾がその光沢や墨の発色ぶりと保色性を高く評価してこれを寵愛した。
• However, with improvement made in the Northern Song Dynasty Period, chikushi paper became stronger, which Wang Anshi and Su Shi (Chinese poet) favored because of its gloss, color development of sumi ink and color retention.

• 「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。
• 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.'

• 慶長小判駿河墨書小判（するがすみがきこばん・するがぼくしょこばん）（文禄4年（1595年）（確定的でない）、4.5匁、84%）
• Keicho koban surugagaki koban (in 1595 [unspecified], 4,5 monme, 84%)

• 若年時は狩野永徳風の豪壮な画風を示すが、後年の大徳寺の障壁画は水墨を主体とし、余白をたっぷりと取った穏やかな画風のものである。
• In his early days, Tanyu produced bold Eitoku KANO-style paintings; however, later on in his life, his major creation was the wall painting on Daitoku-ji Temple, a serene water ink drawing with a large unpainted space.

• 四世蔵六に継嗣がいなかった為請われてその養子となり、明治27年（1894年）5月浜村蔵六を嗣ぎ、永らく向島 (墨田区)に住む。
• He was asked and adopted by Zoroku HAMAMURA IV who didn't have an heir as his son and succeeded him in May, 1894; he lived in Mukoujima, Sumida Ward, for a long time.

• 鎌倉を出発するときに景季は頼朝に名馬生食（いけづき）を賜るように願ったが、頼朝はこれを許さず代わりに磨墨（するすみ）を与えた。
• On leaving Kamakura, Kagesue asked Yoritomo to grant him a famous horse called Ikezuki, but Yoritomo declined and gave him the horse called Surusumi instead.

• 退蔵院- 日本の初期水墨画の代表作である如拙（じょせつ）筆の国宝「瓢鮎図」（ひょうねんず）を所有する（京都国立博物館に寄託）。
• Taizo-in Temple - In possession of 'Hyonenzu' (Catching a Catfish with a Gourd) by Josetsu, an example of one of Japan earliest suiboku paintings and a National Treasure (deposited at Kyoto National Museum).

• 最後に年齢性別に応じるが、成人男性の場合「大人（うし）」、女性の場合は「刀自（とじ）」などでくくられる形で霊号が墨書きされる。
• The last part, which represents the age and sex of the deceased, is concluded with ink-written 'reigo' (spiritual title) such as 'Ushi' for adult men and 'Toji' for adult women.

• 元信は父正信の得意とした漢画、水墨画に大和絵の画法を取り入れ、襖、屏風などの装飾的な大画面を得意とし、狩野派様式の基礎を築いた。
• Motonobu assumed the Yamatoe painting style in Kanga and ink painting (in which his father Masanobu specialized); he specialized in large decorative paintings such as a Fusuma (Japanese sliding door) and a folding screen, and built a foundation for the style of the Kanoha group.

• 神社や仏閣に奉納した千社札は、天井や壁に貼られてゆき、長い年月が経過して紙の空白部分が腐食すると、墨の印刷された部分のみが残る。
• When senjafuda dedicated to shrines and temples were stuck to ceilings and walls and a long time had passed, the blank part of the paper became tattered and, and only the printed or written area in India ink or such are left.

• 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。
• 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.

• また、同じ近世以降の熊野参詣道でも文人墨客の道として利用された大辺路などと異なり、小辺路はもっぱら庶民の参詣道として用いられた。
• And unlike Ohechi which was another pilgrimage road to Kumano after the early-modern period and used by mainly writers and artists, Kohechi was used by mainly the common people.

• しかし、直後の3月、平氏政権は再び東海道へ追討軍を派遣し、尾張墨俣川で関東政権軍と会戦して平氏軍が勝利を収めた（墨俣川の戦い）。
• However, three months after Kiyomori's death, the Taira clan government again sent a force along the Tokai-do Road to battle with the Kanto government forces and the Taira clan troops won a battle at Sunomata-gawa River in Owari Province (the Battle of Sunomata River).

• これに対して禅宗を中心として仏教との関連性を保ちながらも自由な発想と解釈のもとで自己の内面世界を水墨画などに描き出す僧侶が現れた。
• At the same time, monks who made ink-wash paintings emerged; they were mainly from the Zen sect, and while still maintaining their relationship with Buddhism, they freely depicted their own inner world using their own style of artistic interpretation.

• 錦絵登場の直前、輪郭線すらも墨を用いず「ツユクサ」の青色としたみずえ（みずえ）と呼ばれる、極端に彩度の低い多色刷りも生まれている。
• Immediately before the appearance of Nishikie, an extremely low-chromatic multicolor printing called Mizue emerged, in which profile lines are drawn by 'Tsuyukusa' (blue Asiatic Dayflower) rather than India ink.

• その書風は情感あふれた優美なもので、余白と点画・行の間隔や傾き・墨継ぎの妙など、心憎いばかりの空間処理で、実に見事な散らしである。
• Its calligraphy is elegant and full of feeling; the truly magnificent chirashi-gaki makes superb use of spaces with margins, gaps between characters and lines, and excellent slanting and sumi-tsugi (adding sumi-ink in the middle of characters).

• 1898年（明治31年）に「開明墨汁」と名付け商品化し、田口商会（現在の開明株式会社）を牛込区築土八幡（現在の新宿区）に創業した。
• In 1898, he named it 'Kaimei Bokuju' (Kaimei liquid sumi ink) and commercialized it, and he founded Taguchi Company (present-day KAIMEI & Co., Ltd.) in Tsukudo Hachiman, Ushigome Ward (present-day Shinjuku Ward).

• しかしながら、昭和29年（1954年）の毎日書道展で、「墨象芸術」の名が与えられ、美術評論界などでは「抽象書道」などとも呼ばれた。
• However, in the Mainichi shodo-ten (a calligraphic exhibition named Mainichi (literally, everyday), the name of 'bokusho-geijutsu' (literally, ink-based art) held in 1954 was given to such calligraphy, and in the art-reviewing society, it is also called 'chusho-shodo' (abstract calligraphy).

• 墨書きは「拾両後藤（花押）」で年号表示は無く後藤五代徳乗のものであり、上下左右に丸枠桐極印がそれぞれ一箇所、計四箇所打たれている。
• On the front, the name of the monetary unit and Tokujo GOTO (the fifth craftsman)'s Kao are written in ink as 'ten ryo Goto', the name of the era isn't written, and the Kiwamein of paulownia in a circle is stamped at the top, the bottom, the right and the left.

• 武蔵国は葛飾郡本所割下水（江戸・本所割下水。現・東京都墨田区の一角。「北斎通り」も参照）にて、貧しい百姓定義の子として生を受ける。
• He was born a son of Sadayoshi (定義), a poor farmer, at Honjo Warigesui, Katsushika County, Musashi Province (Honjo Warigesui in Edo, now a part of the present Sumida Ward, Tokyo Prefecture; refer also to 'Hokusai Street'.)

• 山嵐は「おい君どこに宿（とま）ってるか、山城屋か、うん、今に行って相談する」と云い残して白墨（はくぼく）を持って教場へ出て行った。
• 'Say, where are you stopping? Yamashiro-ya? Well, I'll come and talk it over.'So saying, Porcupine, chalk in hand, left the room to his class.

• 白衣観音、楊柳観音のように、禅宗系の仏画や水墨画の好画題としてしばしば描かれるものもあるが、大部分の観音は単独での造像はまれである。
• Some kannons, such as Byakue Kannon and Yoryu Kannon, are often drawn in Buddhist pictures of Zen sects and in ink wash, but most kannons do not have the independent form of a statue.

• なお、水墨画と禅宗の教義とには直接の関係はなく、水墨画は禅宗様の建築様式などと同様、外来の新しい文化として受容されたものと思われる。
• In addition, there is no direct relationship between Suiboku-ga and the dharma of the Zen sect, and it seems that Suiboku-ga was accepted as a new foreign culture as well as the Zen sect style architecture.

• 欠点としては、泥土の混入が多い紙は柔軟で破れやすく、他の紙に比べて目方が重く、さらに墨で文字を書くと滲（にじ）むなどといわれている。
• On the minus side, soil-contained paper is delicate and easy to tear, heavier than other kinds of paper, and furthermore, the letters written by sumi (ink printing) are turn out blurred.

• 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。
• 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.

• 江戸の市域は「御府内」と呼ばれ、正式な区域は1818年に地図上の朱引きで、さらに町奉行の管轄する区域は墨引きで示されるようになった。
• The urban area of Edo was called 'Gofunai,' and the official borders of Edo cartographically delineated by 'shubiki' (literally 'red-ruled lines.') for the first time in 1818, and the area administered by the town magistrate's office were distinguished by 'sumibiki' (literally 'black-ruled lines').

• 日本の外交史において陸奥の名前が登場するのは、1891年に駐米公使であった陸奥がメキシコとの間で日墨修好通商条約を締結した時である。
• In the Japanese history of diplomacy, the name Mutsu appeared for the first time when he signed the Japan-Mexico Treaty of Amity, Commerce, and Navigation with Mexico as a minister to the United States of America, in 1891.

• 墨竹などの画を好み、中国の画法を独学しようとしたが進まず、14歳にて京都に出て黄檗宗 鶴亭（海眼淨光）について長崎派の画法を修める。
• He liked paintings such as ink paintings and tried to learn the Chinese drawing method, but failed, and at the age of fourteen he went up to Kyoto and learned drawing method of the Nagasaki School from Kakutei (Joko KAIGAN) of the Obakushu sect.

• 大日如来の大法会で普賢菩薩が文殊菩薩と衆生に向かって自らの感得した不動明王について教えを説き、大日如来がお墨付きを与えるという筋書き。
• The story is that Fugen Bosatsu preached Fudo Myoo, which he felt, to the living things with Monju Bosatsu at the great Buddhist mass of Dainichinyorai, and that Dainichinyorai gave a favorable blessing.

• 月影摺りは、細川紙や西の内紙などの生漉き紙に、礬水を引かず、薄墨色だけで紋様を摺ったもので、墨のにじみを特徴とし、江戸で多く作られた。
• Tsukikage printing was a method that used only thin sumi on kizuki-gami such as Hosokawa-gami (Hosokawa paper) or Nishinouchi-gami without using dosa, and it was characterized by the running of sumi and many were produced in Edo.

• 黒い墨の色が薄く沈着するのは筆の性能が引き出されていることを示していると言って良いので、洗いすぎて筆を傷めないよう注意する必要がある。
• Since it can be said that deposits of a light color of black Chinese ink indicates that the performance of the fude is taken advantage of, attention must be given not to wash it too much, which could damage the fude.

• 墨絵画家、日本筆跡心理学協会認定　筆跡アドバイザーマスター、社団法人日本産業カウンセラー協会認定　産業カウンセラーなどの肩書きもある。
• Her titles include Sumi painter, Handwriting Adviser Master approved by Japan Association of Graphology and Industrial Counselor approved by Japan Industrial Counselor Association.

• 通常、神社や仏閣に奉納するための札は墨による単色刷りだが、交換や蒐集、鑑賞などの目的のために、多色刷りされた色札が作成されることもある。
• Normally, senjafuda dedicated to shrines and temples are done in India ink, however, multiple color printed 'irofuda (literally, colored card)' are often made for exchange, collection, and appreciation.

• しかしながら、明治維新を迎えて、日本酒が政府のお墨付きと後押しを受けて表舞台を通じてヨーロッパに入っていったことは事実であるといえよう。
• However, it can be said to be true that sake was introduced to Europe officially with the government's approval and support after the Meiji restoration.

• 筒の部分を持ち、毛の部分に墨や顔料をつけ、書く対象にその毛をなすり付けることにより、文字を書いたり、絵を描いたり、化粧を行ったりできる。
• The brush is used to write letters, draw pictures or apply makeup; one holds the stem, dipping the brush into Chinese ink or pigments, and rub the brush against the item the ink is to be applied to.

• （至出町柳駅）← 伏見稲荷駅 - 深草駅 - 藤森駅 - 墨染駅 - 丹波橋駅 - 伏見桃山駅 - 中書島駅 - 淀駅 →（至淀屋橋駅）
• (from/to Demachiyanagi Station) - Fushimi-inari Station - Fukakusa Station - Fujinomori Station - Sumizome Station - Tanbabashi Station - Fushimi Momoyama Station - Chushojima Station - Yodo Station - (from/to Yodoyabashi Station)

• また条約改正の分野でも、メキシコとの間に平等条約である日墨修好通商条約を締結することに成功、列強との条約改正交渉も順調に行くかに見えた。
• As for the revision of treaty, he achieved to conclude Japan-Mexico Treaty of Amity, Commerce, and Navigation which was an equal treaty with Mexico, so the negotiation for the unequal treaty with the powerful countries seemed to be going well.

• 現在の八王子市から見た高尾山、甲府市内から見た富士山や市内の甲斐善光寺、身延町の富士川など甲州の名所が太さの異なる筆と墨で描かれている。
• It includes sketches of scenic places in Koshu, such as Mt. Takao viewed from current Hachioji City, Mt. Fuji viewed from Kofu City, Kai Zenko-ji Temple there and the Fuji-gawa River in Minobu-cho, drawn in black ink with brushes of different thickness.

• 独特な技法により描かれる、見る者に湿潤な大気を実感させる水墨画は評価が高く、室町時代の水墨画にも大きな影響を与え、多くの追随者を生んだ。
• His works of suibokuga, which were painted with unique technique and make people feel moist atmosphere, were highly appreciated, gave big impact on suibokuga in the Muromachi and created many followers.

• 坐高2.8メートルを超える大作で、像内に「□□九年」と読める墨書があり、年号の部分は判読不能だが、干支から天慶9年（946年）とわかる。
• The statue is large at over 2.8 m in height and inside is an ink inscription reading 'Year 9 of the XX era' in which the era name is illegible but it is known from the oriental zodiac to year 9 of the Tengyo era (946).

• 文人と僧侶の交流を通じて、墨戯を行う僧侶が現れるようになり特に禅僧にその傾向が強かった（天台宗の若芬玉澗のように非禅僧の画僧も存在する）。
• Through the social interactions between monks, especially Zen monks, and literati, monks who made bokugi appeared (a well known example of an artist monk who was not of the Zen sect was Jakufun Gyokukan of the Tendaishu sect).

• 平安時代初期、密教の伝来とともに、仏像、仏具、曼荼羅等の複雑な形態を正しく伝承するために、墨一色で線描された「密教図像」が多数制作された。
• At the beginning of the Heian Period, Mikkyo, Esoteric Buddhism, was brought to Japan and many 'Mikkyo-zuzo paintings' in Sumi, were produced in order to correctly pass down complicated forms such as a Buddha statue, Buddhist alter accessories, and Mandala, etc.

• 水墨画がこの頃盛んになった要因としては、日本と中国の間で禅僧の往来が盛んになり、宋・元の新様式の絵画が日本にもたらされたことが挙げられる。
• One of the reasons for the flourishing Suiboku-ga at this time is that Zen priests were actively interacting between Japan and China and new style paintings in Sung and Yuan were brought to Japan.

• 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。
• 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.

• 造立の事情は必ずしも明らかでないが、作風や、12躯のうち1躯の台座から「天平」の墨書が見出されたことなどから、天平期の作と見なされている。
• Although the reasons behind making the images are not necessarily clear, they are believed to have been made in the Tenpyo era judging from their styles and the fact the word 'Tenpyo' written in black ink was found on the pedestal of one of twelve images.

• バルクは彼らに答えた、「彼がわたしにこのすべての言葉を口述したので、わたしはそれを墨汁で巻物に書いたのです」。 (エレミヤ書 36:18)
• Then Baruch answered them, He pronounced all these words to me with his mouth, and I wrote them with ink in the book. (Jeremiah 36:18)

• 足利将軍家に仕えた「同朋衆」（唐物の目利きなど、芸術顧問的な仕事をしていた）の阿弥派一族（能阿弥、芸阿弥、相阿弥）も水墨の作品を残している。
• The Ami family (Noami, Geiami, and Soami) of 'Doboshu' (a kind of advisor on arts, as good consultant of things imported from China), who served the Ashikaga Shogun Family, also left the works of Suiboku-ga.

• この場は様式化され、大広間には雲竜の墨絵の衝立が置かれ、弾正の衣装は白のじばんに刀の下げ緒で襷をかけ、素肌に素網を着用するのが定着している。
• This scene has been stylized, with a screen of dragon in the clouds painted in black ink placed in the hall and Danjo wearing a white Juban (undershirt for Kimono), tucking up the sleeves of his Kimono with a cord used for fastening a sword to a belt, and Suami (a mesh shirt representing habergeon) next to his skin.

• 平氏はまた、墨俣川の戦いに備えて、伊勢国へ水夫と船の雑役を課しており、宣旨が国司へ発出されてから10数日の内に水夫と船の徴発が完了している。
• Also, to prepare for the Battle of Sunomatagawa, the Taira clan imposed zatsueki on Ise Province so they would provide sailors and ships, and in this case, a request for sailors and ships was issued within 10 days after a senji was issued to the provincial governor.

• 実際には国書を下げ渡された堀尾吉晴が保管しており、現在も重要文化財（「綾本墨書 明王贈豊太閤冊封文」）として大阪歴史博物館に所蔵されている。
• In fact, the letter was kept by Yoshiharu HORIO, who received it from Hideyoshi, and is currently in the possession of the Osaka Museum of History as important cultural property (the official letter to Hideyoshi TOYOTOMI from the King of Ming, 綾本墨書 明王贈豊太閤冊封文).

• 浪士組は、清河が前年（文久2年・1962年）山岡を通じて江戸幕府に建言した建白書「急務三策」によって、攘夷団体として幕府の御墨付を得ていた。
• The Roshigumi had an endorsement as a Joi group from the bakufu (Japanese feudal government headed by a shogun) as a result of the submission of the petition 'three plans of urgent business' by Kiyokawa through Yamaoka in 1862.

• 絹本墨画山水図 2幅 附絹本墨画楊柳観音像 - 高桐院の開創以来伝わる2幅の山水画で、南宋の宮廷画院の画家であった李唐（りとう）作品である。
• 2 monochrome ink painting on silk of landscape including an monochrome ink painting on silk of portrait of Yoryu Kannon-zu: These two landscape paintings came into the possession of Koto-in Temple after its founding and were painted by LI Tang of the Chinese Southern Song Dynasty imperial art institute.

• 琵琶湖疏水（第1疏水）の本流は蹴上船溜から蹴上インクラインにより南禅寺船溜まで下り、夷川ダム、夷川発電所を経て鴨川東岸を南下し墨染ダムに至る。
• The main stream of First Canal runs from Keage-funadamari to Nanzenji-funadamari via Keage Incline, travels via Ebisugawa Dam and Ebisugawa Power Station, and runs south along the east side of the Kamo-gawa River to Sumizome Dam.

• 仏間に本尊阿弥陀如来立像を安置することから「本堂」とも呼ぶが、解体修理の際に発見された墨書等から、建設当時は「大書院」と称されたことがわかる。
• It is also called 'hondo' (main hall) since the principle image, the standing statue of Amida Nyorai (Amitabha Tathagata), is enshrined at the butsuma, but from bokusho (writing in India ink) and other articles found when repairing with dismantling, it is understood that it was called 'Oshoin' at the time of construction.

• このうち、『禅宗祖師図』は典型的な水墨画であるが、『四季花鳥図』は水墨を基調としつつ、草花や鳥の部分にのみ濃彩を用いて新しい感覚を示している。
• 'Founder of Zenshu sect' is a typical ink painting, while 'Four Seasons, Flowers and Birds' is based on ink and shows a new flavor at the same time, as it uses colors only on the flowers and birds.

• 墨俣城、金ヶ崎の退き口、高松城の水攻め、石垣山一夜城など機知に富んだ逸話が伝わり、百姓から天下人へと至った生涯は「戦国一の出世頭」と評される。
• His witty episodes were left such as 'Sunomata Castle', 'Kanegasaki no nokikuchi', 'Mizuzeme (siege by water) against Takamatsu Castle' and 'Ichiyajo (a castle built in one night) of Mt. Ishigaki' and he was regarded as the most successful person in the Sengoku Period.

• 始原と考えられているのは、中国の宋代において、文同、蘇軾等が竹を水墨画の主題として描き始め、後、梅・ラン科・キク・松と画題の広がりを見せていく。
• As for the beginning, it is considered that in the Sung period in China, Chinese authors Wen Tong, Su Shih and others painted bamboos as the subject of ink-wash paintings and expanded the subjects to plum trees, orchards, chrysanthemums and pine trees afterwards.

• 朝廷・幕府のものは、菊や葵の御紋とともに墨書で「御用」とのみ書かれ、その他の場合は、紋章とともに「○○御用」「××家中÷÷御用」などと記された。
• Efu marked only 'Goyo' (official business) in ink was attached to the baggage sent from the Imperial Court or the Edo bakufu accompanied by the Imperial crest or the family crest of Tokugawa, respectively, while other senders wrote '...Goyo' (official business of...) or '...Kachu...Goyo' (...family's official business of...) on efu accompanied by their own family crests.

• 長篠の戦いの勝利後では陪臣でありながら家康から直々に労われた上に、彼らの子々孫々に至るまで厚遇を約束された御墨付きを拝領したという重臣達である。
• Although they were rear vassals of Ieyasu, they received an expression of recognition for their efforts directly from Ieyasu after the victory in the Battle of Nagashino, and further won an endorsement of kind treatment for their descendants.

• 鳥之石楠船神（天鳥船神）を祀る神社には、神崎神社（千葉県香取郡神崎町）、隅田川神社（東京都墨田区）、金刀比羅・大鷲神社（横浜市南区）などがある。
• The shrines where Torinoiwakusufune no kami is enshrined are Kozaki-jinja Shrine (Kanzaki-cho, Katori-gun, Chiba Prefecture), Sumidagawa-jinja Shrine (Sumida Ward, Tokyo Prefecture), and Kotohira-jinja Shrine and Otori-jinja Shrine (Minami Ward, Yokohama City).

• 幕末に至り、1848年（嘉永元）に著された北浦定政の『打墨縄』（うちすみなわ）では、天武持統陵は見瀬丸山とされ、野口王墓は文武天皇陵に比定された。
• In the end of the Edo period, Mise Maruyama was considered as the Tenmu-Jito Mausoleum in 'Uchisuminawa' written by Sadamasa KITAURA in 1848 and Noguchino Ono-haka was identified as the Mausoleum of Emperor Monmu.

• この時代には禅宗僧の往来がしきりで、禅宗とともに持ち込まれた文化（精進料理、水墨画、喫茶の習慣など）はその後の日本文化の発展に大きな影響を与えた。
• In this period, coming and going by Zen (Buddhism) monks were implemented actively, and cultures (a vegetarian dish, ink-wash painting, custom of tea drinking) brought along with the Zen sect had a big influence on subsequent developments of Japanese culture.

• 貴族やそれに仕える男女、庶民の風俗や自然の景物を木版で刷ったり、図様を墨描きしたり、あるいは、両者を組み合わせたのちに彩色を加えて料紙としている。
• On the ryoshi, the way of life of nobles, their servants and common people as well as natural landscapes were depicted in woodblock prints, ink brush painting or a combination of both, and then colored.

• 線がふっくらとして実に艶美な感じを与えるが、濃淡の変化の際立った墨つぎと、太い線と細い線を絡ませてゆく技巧とが、この色紙に一段と精彩を添えている。
• The fuller lines have a truly seductive air, and the sumi-tsugi, which brings out changes in shading, together with the technique of interweaving thick and thin lines make this Shikishi stand out.

• このように時間と手間がかかる昔ながらの墨の製法は、大量生産による低価格化が要求される現代ではほとんど見られなくなり、またその技術の後継者も少ない。
• The time and labor consuming traditional way of making ink sticks mentioned above is rarely seen nowadays when the price-reduction by mass production is needed, and the successors of the industry are few.

• 初代市川団十郎が坂田金平を主人公にした人形浄瑠璃の台本を舞台用にしたものを上演する際、人形からヒントを得て、紅と墨で描いたのが最初の隈取であった。
• The first Kumadori was done by first generation Danjuro ICHIKAWA after taking a hint from a doll to paint in crimson and charcoal in order to perform theatrical adaptation of a script of ningyo joruri (traditional Japanese puppet theater) as the main character Kinpira SAKATA.

• 漆紙文書は廃棄文書の断片ではあるが、残存している一次史料の少ない古代にあっては、木簡や墨書土器、正倉院文書などとともに貴重な文字資料となっている。
• Urushigami Monjo is the segment of the disposal documents, but it is valuable material among the primary archives of the ancient times remained, together with mokkan (a narrow strip of wood on which an official message is written), ink writing earthenware, and Shoso-in monjo (documents of Shoso-in).

• 政宗は家康に従って後の天下取りの機会をうかがうことを優先し、旧領である上杉領に進攻し100万石のお墨付き分の領地を自らの手で獲得することを狙った。
• By following Ieyasu, Masamune prioritized finding an opportunity to conquer the country in the future; he first aimed to retrieve his former territory by invading the land of the Uesugi clan, in order to acquire a total territory worth 1,000,000 koku with his own hands, which was the amount promised in the 'Assurance of Hyakumangoku.'

• 雪舟（せっしゅう、1420年（応永27年） - 1506年（永正3年））は号で、15世紀後半室町時代に活躍した水墨画家・禅僧で、画聖とも称えられる。
• Known as Sesshu (1420 - 1506), he was an ink painter and Zen monk active in the Muromachi period in the latter half of the 15th century, and was called a master painter.

• 14世紀までの日本水墨画が頂相、祖師図、道釈画などの人物画や花鳥画を中心としていたのに対し、15世紀には日本でも本格的な山水画が描かれるようになる。
• While most Suiboku-ga in Japan, until the 14th century, were portraits such as Chinzo, Soshi-zu paintings, and Doshaku-ga, and Kacho-ga (painting of flowers and birds), in the 15th centuries full-scale Sansui-ga began to be painted in Japan.

• 現存する日本最古の墨書は、三重県嬉野町 (三重県)（現在は松阪市）貝蔵遺跡で出土した2世紀末の土器に記されていた「田」という文字であるとされている。
• The oldest Japanese ink writing that exists today is said to be the character 'ta' (rice field), which was marked on a late second century clay pot unearthed from the Kaizo ruins in Ureshino-cho, Mie Prefecture (Mie Prefecture) (present-day Matsuzaka City).

• この時代の墨跡は、大徳寺・妙心寺の禅僧と黄檗派の禅僧の書をいい、宋 (王朝)の米フツ、元 (王朝)の趙孟フ、明の文徴明・祝允明・董其昌の書風である。
• The bokuseki in this period indicate the calligraphic works by Zen priest in Daitoku-ji Temple and in Myoshin-ji Temple and those by Zen priest in the Obaku school, written using the styles that were employed by Mi Fu in Sung (Dynasty), Wen Zhengming in Yuan (Dynasty), Chomei BUN, Zhu Yunming, and Dong Qichang in Ming.

• 江戸の範囲は随時変わっており、寺社門前地が正式に御所内に組み込まれたのは1745年以降であり、朱引・墨引という呼称ができたのは1818年以降である。
• The official borders of Edo changed frequently, and it was not until after 1745 that Jisha-Monzenchi (lands in fron to of temples and shrines) were officially incorporated into the Imperial Palace, and it was also not until 1818 that the terms 'Shubiki' (drawing a border of Edo-fu in red) and 'Sumibiki' (drawing a border of the area ruled by the town magistrate's office in black) were coined.

• たとえば老子がインドに赴いて釋迦になった（老子化胡説）、西欧の自然科学は墨子の説が西伝して開花したものである（西学中源説）等の附会説となって現れる。
• It appeared as a twisted argument such that Lao-tzu went to India and became Shakyamuni (legend of Lao-tzu becoming an Indian), and natural science in western countries was theory of Mozi which had been transferred to the west and flourished there.

• やがて小栗は横山を滅ぼし、死後は一度死んで蘇生する英雄として美濃墨俣の正八幡（八幡神社 (大垣市墨俣町)）に祀られ､照手姫も結びの神として祀られた。
• Oguri destroyed Yokoyama shortly, and after his death, Oguri was enshrined in Shohachiman in Sunomata, Mino Province (Hachiman-jinja Shrine in Sunomata-cho, Ogaki City) as a hero who revived after death, and the Princess Terute was also enshrined as a deity of romantic ties.

• 古来より景勝の地として文人墨客がしばしば訪れた瀟水と湘水の合流する洞庭湖周辺の８つの風景を描いたもので、永徳の父・狩野松栄により描かれたものである。
• A depiction by Eitoku KANO's father Shoei KANO of the eight views of the area where the Xiao River and Xiang River converge at Lake Dongting which has been visited as a place of scenic beauty by writers and artists since ancient times.

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• 「詩画軸」とは、「詩・書・画一体」の境地を表わしたもので、縦に長い掛軸の画面の下部に水墨画を描き、上部の余白に、画題に関連した漢詩を書いたものである。
• Shigajiku' shows the state of 'unity of poetry, brushstroke, and painting' and refers to a vertically long Kakejiku hanging scroll on which Suiboku-ga is painted on the under side and a Chinese-style poem with related subject matter of Suiboku-ga is drawn in the head margin.

• 慶長以降の大判の様式は、表面の上下左右に丸枠に五三桐（ごさんのきり）と呼ばれる刻印が4つあり、「拾両後藤」の文字と後藤家当主の花押が墨書きされている。
• After the Keicho era oban had four seal marks called 'Gosan no kiri' at four corners in a round frame, and the letters '拾両後藤 (Ju-ryo Goto)' and 'Kao' of the head of the Goto family are written in India ink on the surface.

• 1846年（弘化3）、東インド艦隊司令長官ジェームズ・ビッドルを派遣して国交を求めたが、江戸幕府はこれを拒絶し、46年の米墨戦争の勃発のため帰国する。
• In 1846, East India fleet admiral James BIDDLE was sent to Japan seeking diplomatic relations, but the Edo bakufu and he went back to his country because of the outbreak of the Mexican-American War.

• 木簡は長さ18.5センチ、幅2.7センチで、片面に墨で「皮留久佐乃皮斯米之刀斯」と書かれており、「はるくさ（春草）のはじめのとし」と読むとみられている。
• Mokkan measured 18.5 centimeters long and 2.7 centimeters wide with writings in ink on one side being '皮留久佐乃皮斯米之刀斯' which is believed to read 'Harukusa no Hajime no toshi' (Spring grass of the new year).

• 朝廷や武家が派遣した医師や薬をすべて断り、12月2日遺偈を左手で書こうとしたが、うまく字にならず、怒って筆を投げつけ、周囲が墨だらけになる中、示寂した。
• He refused all the doctors and medicine delivered from the Imperial Court and samurai, and on January 22, 1347 he tried to write his final poem with his left hand in vain, threw away the brush in anger splashing the ink around, and passed away.

• しかし、これらのような肥痩や濃淡のない均質な墨線で描かれた作品は「白描」（はくびょう）ないし「白画」といい、「水墨画」の範疇には含めないのが普通である。
• However, these works painted with homogeneous Sumi lines with no thick or thin nor contrasting density, are usually called 'Hakubyo plain sketches' or 'Hakuga (painting drawn only by Japanese ink lines)' and are not included in the category of 'Suiboku-ga.'

• ある時家茂に教えていた最中に、突然家茂が安清の頭の上から墨を摺るための水をかけ手を打って笑い、「あとは明日にしよう」と言ってその場を出て行ってしまった。
• One time while he was giving a lesson, Iemochi suddenly poured water used for Chinese ink over Yasukiyo's head, laughed while he clapped his hands and left the lesson saying, 'Let's do the rest tomorrow.'

• これは、家康が上杉景勝を会津に釘付けにしておくため、政宗の東軍参加が是非とも必要であったことから、100万石のお墨付きを与え、東軍参加を促したとされる。
• It is considered that Ieyasu gave this 'Assurance of Hyakumangoku' (Hyakumangoku meaning 1,000,000 koku of land) to urge the participation of Masamune to his Eastern Army, because his participation to the Eastern Army was critical in order to hold Kagekatsu UESUGI to Aizu region.

• 日常の何気ない風景を日本画の体表的な材料である墨と胡粉のみを用いて表現しており、その独自の視点と色彩感覚で描かれた光と影の世界は浮遊感があり映像的です。
• Using only black ink and chalk--the typical materials in Japanese-style painting--he expresses the essence of relaxed, everyday life, and conjures up a world of light and shadow through his unique perspectives and sense of tonality, with which he creates an airy, floating impression in his images.

• その多くは古典文学作品に登場する駿馬の名に由来しており、特に磨墨・池月は平家物語に登場し、宇治川の戦いの先陣争いで知られた源頼朝の愛馬から採られている。
• The majority of the names came from fine horses of Japanese classic literature; for example, the names Surusumi and Ikezuki are in The Tale of the Taira Clan (The Tale of the Heike/Heike Monogatari) and came from MINAMOTO no Yoritomo's favorite horse in the competition to be the first rider in a charge at the Battle of the Uji-gawa River.

• 時に、かの亜麻布を着、物を書く墨つぼを腰につけていた人が報告して言った、「わたしはあなたがお命じになったように行いました」。 (エゼキエル書 9:11)
• Behold, the man clothed in linen, who had the inkhorn by his side, reported the matter, saying, I have done as you have commanded me. (Ezekiel 9:11)

• すでに12世紀末頃の詫磨派の仏画に水墨画風の筆法が見られるが、本格的な水墨画作品が現れるのは13世紀末頃で、中国での水墨画発祥からは4世紀近くを経ていた。
• In the Buddhist painting of the Takuma group around the end of the 12th century a touch of Suiboku-ga is already seen, but full-scale Suiboku-ga appeared around the end of the 13th century, which was almost four centuries later from the beginning of Suiboku-ga in China.

• 鎌倉時代から室町時代にかけて五山を中心に禅僧たちの間に文学が隆盛し、また南宋から水墨画・山水画が伝来し、公家をも含めた詩会のためのサークルをつくっていた。
• From the Kamakura period to the Muromachi period, among the Zen monks at the gosan (Zen temples highly ranked by the government) literature prospered, and suiboku-ga (a drawing in India ink) and sansui-ga (a landscape painting in Eastern Asia) were introduced from the Southern Song Dynasty, and including court nobles, they made a waka poetry club.

• 天明8年（1788年）の大火で版木を全て焼失し、再刻されたもので、最も古いものは「寛政四年六月 唐紙屋（からかみや）長右衛門　彫師平八」と墨書されている。
• On the oldest printing block, that was re-carved after being destroyed in the great fire in 1788, there is a description of 'June, 1792. Choemon KARAKAMIYA, carved by Heihachi' written in sumi.

• 『易経』、『尚書』、『詩経』、『周礼』、『礼記』、『春秋左氏伝』（春秋公羊伝・春秋穀梁伝）、『論語』、『孟子』、『墨子』、『韓非子』、『山海経』、『孫子』
• 'I Ching' (The Book of Changes), 'Shosho' (Classic of History), Shi Jing (the oldest pieces of Chinese literature), 'Shurei' (Rites of Zhou), 'Raiki' (Book of Rites), 'The Zuo Zhuan' (The Chronicle of Zuo) (Shunjukoyoden, Shunjukokuryoden), 'Rongo' （Analects of Confucius), 'Moshi' (Mencius), 'Mozi' (a book of Chinese thought), 'Hanfeizi' (a book of Chinese thought), 'Shan Hai Jing' (Classic of mountains and seas）, 'Sonshi' (Chinese books about tactics).

• このため、移転はもとより、高札の文字が不明になったときでも、領主の許可なくしては墨入れ（高札は墨で書かれていたため、風雨には大変弱かった）もできなかった。
• For its official nature of the board, it was not allowed to relocate or reprint the written notes (because Kosatsu was written in black ink, it was very weak against winds and rains) without the permission of feudal lord.

• 軍事面において平氏は墨俣川の戦いに勝利した後は、養和の大飢饉の影響もあって戦線を維持するのが精一杯であり、内外に敵を抱えた平氏政権はしだいに疲弊していく。
• In the military aspect, after victory in the Battle of Sunomatagawa, it was all the Taira clan could do to maintain the front lines, partially because of influence of the Great Famine of Yowa, and the Taira regime, which had enemies both inside and outside, gradually declined.

• 二条城二の丸御殿障壁画は25歳の若描きで、永徳風の豪壮な画風を示すが、後年の大徳寺の障壁画は水墨を主体とし、余白をたっぷりと取った穏やかな画風のものである。
• He created the screen paintings in Ninomaru Palace of Nijo Castle when he was young (25 years of age), and they showed dynamism in Eitoku's style; however, the screen paintings in Daitoku-ji Temple, which he created later in his life (mainly with ink and water), display a calm approach with abundant use of blank space.

• 利久紙摺りは、西の内紙などの生漉き紙に礬水（明礬を溶かした水に膠を加えたもの。絹や紙の表面に引いて墨や絵具のにじみを防ぐ）を引き、乾燥させてから染料を塗る。
• Rikyu paper printing is done by coating with dosa (a liquid made by adding glue to water mixed with alum and the coating on the surface of silk and paper prevents the running of sumi or paint) on kizuki-gami (paper made only from the bark of trees) such as Nishinouchi-gami (Nishinouchi paper) and painting it after being dried.

• 襖障子は、表面仕上げに鳥の子紙を貼り、その上に金箔を貼りその上から極彩色の岩絵の具で絵柄を描くか、鳥の子の地肌に直接彩色あるいは墨で絵を描いたものを指した。
• Fusuma-shoji referred to shoji on which torinoko paper was pasted for finishing the surface, patterns were drawn by richly colored mineral paints on an applied gold foil over it or the pictures were drawn in colors or with Sumi directly on the surface of the torinoko paper.

• 東京両国国技館の本場所前々日に野見宿弥神社（東京都墨田区）で日本相撲協会の幹部、審判部の幹部、相撲茶屋等関係者が集まり、出雲大社教神官の神事が執り行われる。
• Noble priests of Izumo Grand Shrine, together with related people such as high-ranking staff of the Japan Sumo Association, high-ranking staff of the department of judging of the association, and people from sumo tea shops, conduct Shinto rituals at Nominosukune-jinja Shrine (Sumida Ward, Tokyo) two days before a grand sumo tournament held at Tokyo-Ryogoku Sumo amphitheater.

• 東京での本場所前々日には東京都墨田区の野見宿禰神社に日本相撲協会の幹部、審判部の幹部や相撲茶屋関係者が出席して、出雲大社教の神官によって神事が執り行われる。
• Senior members of Nihon Sumo Kyokai (Japan Sumo Association), senior members of the referee department, and some other relevant people from sumo-jaya (sumo teahouses) will gather at Nominosukune-jinja Shrine in Sumida Ward, Tokyo Prefecture two days before an official sumo tournament starts in Tokyo, and a Shinto priest from the Izumo Oyashiro-kyo (sect of Shinto) will conduct a Shinto rite.

• 慶応4年1月3日鳥羽・伏見の戦いに始まる戊辰戦争が勃発し、歳三は墨染事件で負傷した局長近藤勇の代わりに新選組を率いて戦うが、新政府軍の銃撃戦の前に敗北する。
• On January, 13th, 4th year of Keio, Boshin War started with the Battle of Toba Fushimi; in place of Isami KONDO, who was wounded in Sumizome Incident, Toshizo lead Shinsen-gumi and fought as a deputy of commander but was defeated against the army of the new government in gun fighting.

• 筆法に関しても、空海は文字の大小、線の肥痩、墨つぎ、運筆の緩急も変幻自在の筆跡であり、最澄のは、あくまで几帳面、筆速も均質、神経の行き届いた慎重な筆跡である。
• In terms of the technique of calligraphy, while Kukai's lines varied in size and ink volume as well as the speed of brush movement, making the lines all different, Saicho's was beautifully well-organized with the same type of lines and detailed attention throughout.

• この時期に制作された水墨画の画題としては、上述の頂相、祖師像のほか、道釈画（道教および仏教関連の人物画）、四君子（蘭、竹、菊、梅を指す）などが主なものである。
• The subjects of Suiboku-ga at that time were mostly Doshaku-ga (portrait of person related to Buddhism or Taoism) and Shikunshi (orchid, bamboo, chrysanthemum and plum) as well as the above mentioned Chinzo and Soshi-zo images.

• 魏 (三国)の官人、如淳は「人面に入れ墨する（委する）」習俗をもって倭の由来と論じたが、臣瓚や顔師古らから、倭と委の音が異なることなどを理由に否定されている。
• 如淳, a government official of Wei dynasty (Three States Period), considered the custom of 'getting a tattoo on their faces (entrusting)' to be the origin of Wa, but Shinsan and Gan Shiko (Yan Shigu) denied the possibility because of such reasons such as the phonetic difference between 倭 and 委.

• 一般に聖徳太子自筆とされている『法華義疏』の写本（紙本墨書、4巻）は、記録によれば753年までに行信が発見して法隆寺にもたらしたもので、長らく同寺に伝来した。
• The transcript of 'Hokke Gisho' (ink on paper, 4 volumes), generally believed to have been written by Prince Shotoku himself, was found by Gyoshin by 753, according to records, and brought to Horyu-ji Temple, where it was kept for a long period.

• この際、家康は政宗に、戦勝の暁には現在の所領58万石に加え、新たに49万石の領土を与えるという内容の書状（「百万石のお墨付き」仙台市博物館・蔵）を送っている。
• At this time, Ieyasu sent a letter to Masamune indicating the reward of a new, additional territory of 490,000 koku value on top of his existing 580,000 koku upon victory ('Assurance of Hyakumangoku [1 million koku]' owned by the Sendai City Museum).

• またこの罰がこっけいであることから、テレビジョン放送のバラエティ番組などで羽根突きをアレンジしたゲームが行われ、敗者の顔に墨を塗る罰ゲームが行われることも多い。
• Since the above penalty is funny, games resulting from making a modification to Hanetsuki are played in TV variety programs, and games giving a loser a penalty of painting the face with India ink are often played.

• ただし、彩色下絵の青色や墨の部分の上に字を書く場合は、墨書の上を金泥でなぞったり、1字を半分ずつ金泥と墨とで書き分けたりするなど、手のこんだ書写がなされている。
• They were, however, of elaborate craftsmanship in that when the characters were written on a blue or black background, they were traced with kindei (gold paint) or half a character was written in kindei and the other half in black ink.

• その後元禄10年（1697年）小笠原長重が武蔵国岩槻藩に転封となるまで4代にわたって仕え、職を辞して江戸郊外の本所 (墨田区)に茶室を構えて多くの門人を集めた。
• He served four heads of the Ogasawara family until 1697, when he resigned following Nagashige OGASAWARA transfer to Iwatsuki Domain in Musashi Province and moved to Honjo (present-day Sumida Ward) on the outskirts of Edo, building a tearoom and a large following of pupils.

• 表面は「拾両後藤（花押）」と墨書され、後藤十代廉乗および十一代通乗の書であり、上下左右に丸枠桐極印がそれぞれ一箇所、計四箇所打たれ、形状は角ばった楕円形である。
• It was an angular, oval coin with the letters 'ju-ryo (ten-ryo) GOTO (written seal mark)' written in ink by Kenjo GOTO the tenth and Tsujo the eleventh on its surface, and it was an angular, oval coin with a hallmark of paulownia in a circle each on the upper, lower, left and right parts of it.

• 浦島太郎のモデルとなったとされる人物として、『歌集』に「墨吉」（すみのえ）の人の記述があり、これは今も大阪の住吉にあり住吉三神に祭られている住吉三神の事である。
• 'A Collection of Poetry' contains a description of a person called 'Suminoe,' who is considered to be a model for Urashima Taro, and who is still worshipped as Sumiyoshi Myojin, one of the Sumiyoshi Sanjin (Sumiyoshi three deities), in Sumiyoshi, Osaka.

• 法衣は全階級とも白五条袈裟に薄墨色の衣（僧階が上がると模様が入るなどの違いはある）であるが、袈裟・衣は管長の免許がなければ着用することはできないことになっている。
• All the priest's robes have shiro-gojo kesa (kesa (Buddhist stole) divided into five parts longitudinally colored white) and clothes with a thin black (there are differences in the pattern of the clothes, depending on the rank of the monks), and monks are not allowed to wear these costumes without having a license to wear them from kancho.

• なお、東京都墨田区にある東京都江戸東京博物館や大阪市北区 (大阪市)にある造幣博物館には、実物と同じ重さの千両箱を実際に持ち上げることができる体験コーナーがある。
• Incidentally, there are hands-on spots where one can actually experience to lift a sen-ryo-bako with the equivalent weight of the real one at the Edo Tokyo Museum in Sumida Ward, Tokyo and the Mint Museum in Kita Ward, Osaka City.

• 武蔵墨書小判を改造したものおよび、新たに判金を製作したものなど変化に富み、また鋳造時期、古鋳小判と通常の前期慶長小判との境界を何処までの範囲とするかなど諸説ある。
• It has many variations such as revised Musashi Sumigaki Koban and newly cast bankin (gold coins), and many theories about the time of casting, the borderline between Kochu Koban and the early Keicho Koban and others.

• 慶長大判（けいちょうおおばん）とは江戸時代の初期すなわち慶長6年（1601年）より発行された大判であり、墨書、金品位および発行時期などにより数種類に細分類される。
• Keicho Oban is a large-sized old Japanese gold coin issued in the early Edo period, from 1601 more specifically, and this can be classified into several varieties according to writings in ink, karat (gold measurement), timing of issuance, and so on.

• 表面は「拾両後藤（花押）」と墨書され、後藤十六代方乗、十七代典乗の書であり、上下左右に丸枠桐極印がそれぞれ一箇所、計四箇所打たれ、形状はやや角ばった楕円形である。
• It had the letters '拾両後藤 (written seal mark)' (ten-ryo Goto) written with indian-ink by Hojo GOTO the sixteenth and Tenjo the seventeenth on its surface, and it was a little angular, oval coin with a hallmark of paulownia in a circle each on the upper, lower, left and right parts of it.

• 治承5年（1181年）の墨俣川の戦いで一族と共に源行家の軍勢に加勢し敗北、重満は平盛綱 (高橋左衛門尉)の弟・平盛久に討ち取られた（『吾妻鏡』同年3月10日条）。
• In the Battle of Sunomatagawa in 1181, he with his family took sides with the army of MINAMOTO no Yukiie, but was defeated, and Shigemitsu was killed by TAIRA no Morihisa, younger brother of TAIRA no Moritsuna (Takahashi saemon no jo) (May 2, 1181 Section of 'Azuma Kagami' (The Mirror of the East)).

• 明治6年（1873年）8月発行の国立銀行 (日本)紙幣2円券の表面には、右側に稲村ヶ崎で太刀を奉じる新田義貞が、左側に桜の木に詩を墨書する児島高徳が描かれている。
• The front of two-yen notes issued by the National Bank in August 1873 had an image of Yoshisada NITTA presenting a sword at Inamuragasaki on the right-hand side and an image of Takanori KOJIMA writing the verse on the cherry tree with Indian ink on the left-hand side.

• 明治21年（1888年）、駐米公使となり、同年、駐米公使兼駐メキシコ公使として、メキシコとの間に日本最初の平等条約である日墨修好通商条約を締結することに成功する。
• In 1888, he became Resident Envoy to the United States; in the same year, he succeeded in concluding the Japan-Mexico Treaty of Amity, Commerce, and Navigation, Japan's first equal treaty, with Mexico as Resident Envoy to the United States and Resident Envoy to Mexico.

• 各室には桃山時代の画壇と代表する画家の1人である海北友松（かいほうゆうしょう）の水墨障壁画があったが、現在は襖から掛軸に改装され、京都国立博物館に寄託されている。
• Each room was originally adorned by India-ink partition paintings by archetypal Momoyama artist Kaiho Yusho but these have since been deposited at Kyoto National Museum and replaced by hanging scrolls.

• よって、教団の枠組みを超え、朱子学・陽明学といった儒教哲学や、漢詩などの文学、水墨画による山水画や庭園造立などの美術などの、様々な文化的な事象に広範な影響を与えた。
• Therefore, it had a wide influence to various cultures such as Confucianism Philosophy including Neo-Confucianism and Yomei-gaku (neo-Confucianism based on teaching of Wang Yangming), literature including Chinese poetry, Sansui-ga (Chinese-style landscape painting) of ink-wash painting and arts including garden making beyond the framework of a religious community.

• 金碧障壁画は、金箔地に群青・緑青・白緑そして朱や濃墨などを用いた、濃彩色の障壁画（襖や貼り付け壁、屏風などに描かれた絵）で、狩野永徳によって新しい画法が創造された。
• Kinpeki-shohekiga are deep colored pictures on partitions (paintings on fusuma, haritsuke kabe or folding screens) painted using ultramarine (sea blue), copper rust (verdigris), byakuroku (whitish green), cinnabar (vermilion) and kozumi (deep Sumi Japanese ink) over a gold foil background, a new style of painting written by Eitoku KANO.

• このように本作品は、南宋院体画の影響を強く受けたものであり、日本の初期水墨画を代表する人物である如拙の筆であることが確実な遺品として、日本絵画史上貴重な遺品である。
• As described above, this work was strongly influenced by Nanso-Intaiga (the Southern Sung Imperial Academy style of painting) and is a valuable piece in the history of Japanese painting as a relic definitely drawn by Josetsu, who was the leading painter specializing in the early stage of ink-and-wash paintings in Japan.

• 元文4年（1738年）には銭相場の高値是正および材料の銅の供給不足などから、江戸深川十万坪、仙台石巻、江戸本所 (墨田区)押上などの銭座で鉄一文銭の鋳造が始まった。
• In 1739, the minting of one-mon iron coin started at zeniza located in Jumantsubo of Fukagawa in Edo, Ishinomaki of Sendai, Oshiage of Honjo (Sumida Ward) in Edo, and so on, due to correction of high market price of currency and short supply of materials.

• 明治15年（1882年）4月（広重の死後24年目）、門人たちが、墨江須崎村の秋葉神社に碑を建立したが、第二次世界大戦の東京大空襲により破壊され、現在は残っていない。
• In April 1882 (24 years after the death of Hiroshige), his disciples established a monument at Akiba Shrine in Susaki Village, Suminoe, but it was destroyed in Great Tokyo Air Raids in the Second World War and nothing remains now.

• 直武の作品が、遠近法、明暗法などの西洋画法をとりいれつつ、画材は伝統的な絵具と墨とを使用していたのに対し、江漢は荏胡麻の油を使用した油彩画を描いたことで特筆される。
• It is particularly worth noting that while Naotake employed Western drawing methods such as perspective and chiaroscuro while using traditional Japanese paints and ink, Kokan tried an oil painting using sesame oil.

• 大徳寺を開いた宗峰妙超の遺墨「自休」を扁額に懸けて軒名としたもので、千利休の師・武野紹鴎（たけのじょうおう）作と伝わる昨夢軒（さくむけん）という4畳半の茶室がある。
• A 4.5 tatami mat-size teahouse named Sakumu-ken Teahouse attributed Joo TAKENO, the master of SEN no Rikyu, on which a work of calligraphy written by Shuho Myocho, who founded Daitoku-ji Temple, was hung to serve as the name of the building.

• 一休の弟子と伝わる室町時代の画僧・墨溪（ぼっけい）筆の達磨図で、上部には「禅の修業に励んだ達磨も、花が咲く故郷のインドの春を思ったのだろうか」という一休の賛がある。
• A painting of Bodhidharma by Muromachi period painter monk Bokkei who is said to have been a disciple of Ikkyu Sojun with an inscription written by Ikkyu in the upper area reading 'Even Bodhidharma who pursued Zen asceticism would have considered the blooming flowers of springtime in his native India'.

• 五部心観2巻－両界曼荼羅のうち、金剛界曼荼羅の諸尊を表わした白描（はくびょう）図像の巻物である（白描とは、陰影や肥痩のない、均質な墨の線だけで表わした絵画のこと）。
• Two Gobushinkan (Painting of the five parts of the Mandala): It is a Hakubyo plain sketch representing shoson (persons or things to be respected, such as Buddha) of Diamond World Mandala among Ryokai Mandala (Two World Mandala) (Hakubyo refers to a plain picture depicted by only lines black ink without shadow or thick-and-thin lines).

• これは「双鉤填墨」という方法を用いるもので、まず写したい作品の上に紙をかぶせ、文字の輪郭だけを細く写し取り、その上で中を黒く塗りつぶすという一種のなぞり書きであった。
• Tomo was based on the 'soko tenboku,' a kind of character tracing method where a piece of paper was put on a work to be copied, only outlines of characters were traced with thin lines, and then areas enclosed by the lines were colored in black.

• ロシアの南下が自国の権益と衝突すると考えたイギリスは危機感を募らせ、1902年に長年墨守していた孤立政策（栄光ある孤立）を捨て、日本との同盟に踏み切った（日英同盟）。
• England became alarmed that Russia's southward expansion could clash with its own interests, abandoned the isolationist policy (Splendid Isolation) it had adhered to for many years, and decided to enter into an alliance with Japan in 1902 (Anglo-Japanese Alliance).

• 紙本墨画淡彩一休宗純像　紹仙筆 － 反骨と風狂の禅僧一体の面目をいちばんよくしのばせる一休宗純像で、紹仙(じょうせん)は方丈に障壁画をのこした蛇足の息子だといわれる。
• Monochrome ink and light colored painting on paper of portrait of Ikkyu Sojun by Josen: The portrait best portraying the face of the rebellious and eccentric Zen Buddhist priest Ikkyu Sojun by Josen who was said to be the son of Dasoku who painted the wall and sliding panel paintings in the hojo.

• なお、室町時代の日本画壇が水墨画一色であったと考えるのは誤りで、この時代には伝統的な大和絵の屏風も盛んに描かれていたことが、20世紀後半以降の研究で明らかになっている。
• In addition, according to research after the late 20th century, it is wrong to think that all paintings in Muromachi Period in Japan were Suiboku-ga, and the traditional Yamatoe painting on folding screen were also painted actively during this period.

• また、成立の経緯からして相撲文化と直結している料理であり、このため両国 (墨田区)界隈の他、地方場所の開催がある大都市、名古屋、大阪、福岡などにはちゃんこ料理店が多い。
• In light of the background of the establishment, the dish is directly connected to sumo culture and, therefore there are many chanko restaurants around Ryogoku (Sumida Ward), and in big cities such as Nagoya, Osaka and Fukuoka where regional tournaments are held.

• 6日に泰時、時房の率いる主力の東海道軍10万騎が尾張川を渡河し墨俣の陣に攻めかかった時にはもぬけの殻、山田重忠のみが杭瀬川で奮戦するが、京方は総崩れになり、大敗を喫した。
• On the sixth day, the main shogunal force, 100,000 riders advancing up the Tokaido under the command of Yasutoki and Tokifusa, crossed Owari river; when they attacked the enemy encampment at Sunomata, they found it completely empty, and only Shigetada YAMADA offered any fierce resistance at Kuise river, making the engagement a complete rout for the capital faction, who had been dealt a crushing defeat.

• 墨汁には天然由来の煤ではなく工業的に作られたカーボンブラック（炭素）を使っているものがある（このカーボンは、複写機などで使われるトナーとほとんど同じ成分である場合もある）。
• There are some bokuju that use industrially produced carbon black (carbon) (in some cases, this carbon has almost the same constituents as toners used in copy machines) when compared to naturally derived soot.

• 硯は固形墨を磨（す）るためのヤスリであり、墨液が潤滑の働きをするとは言え、そのヤスリにこすりつけることは穂先を硯で磨ることと同じであり、穂先をひどく傷めてしまうからである。
• This is because an ink slab is a file used to grind an ink stick, therefore rubbing a brush top against the file is the same as grinding it on an ink slab, which can severely damage it.

• 水墨の名作「蓮池水禽（れんちすいきん）図」は、生乾きの水墨にさらに濃淡の異なる墨を含ませて「にじみ」による偶然の効果を狙った、いわゆる「たらしこみ」の技法が用いられている。
• Sotatsu's famous water ink work Renchi Suikin-zu (Waterfowl in Lotus Pond) was drawn using the Tarashikomi technique--a technique that achieves shading through the pooling of successive layers of partially dried pigment for a coincidental effect.

• 親成は当時の戦国武将の例に漏れず、文化人との交流も盛んに行っていたようで、京都国立博物館には臨済僧の策彦周良（1501年- 1579年）が親成に与えた墨蹟が収蔵されている。
• Chikashige, as other warlords in the Sengoku period, seems to have associated himself well with people of culture, and Shuryo SAKUGEN (1501 - 1579), who was a priest of the Rinzaishu sect, gave Chikashige a calligraphy, which is owned by Kyoto National Museum.

• しかし昭和25年（1950年）から昭和27年（1952年）10月まで行われた解体修理で、「宝治二年戊申」の墨書名と棟札が発見され、1248年の再建であることが明らかになった。
• However, when the gate was taken apart and repaired from 1950 to October 1952, ink writing stating '1248' and munafuda (a historical plaque on a building) were discovered, and it was revealed that the gate had been reconstructed in 1248.

• 元亨年間(1321-1324)に当時の関白であった一条内経が父の菩提を弔うために創建した塔頭で、水墨画を大成した雪舟の作と伝えられる名庭があることから雪舟寺とも呼ばれている。
• Founded between 1321 and 1324 by Uchitsune ICHIJO, chief advisor to the emperor, in memory of his father and is also known as Sesshu-ji Temple after its gardens that are said to have been created by the renowned India-ink painter Sesshu.

• 慶長小判武蔵墨書小判（むさしすみがきこばん/むさしぼくしょこばん）：「武蔵壹两光次（花押）」と墨書され、徳川家康が文禄4年（1595年）に後藤庄三郎光次に鋳造を命じたとされる。
• Keicho-Koban Musashi Sumigaki Koban/Musashi Bokusho Koban: '武蔵壹两光次 (written seal mark)' (Musashi One Ryo Koji) is written in Indian ink and it is said that Ieyasu TOKUGAWA ordered Shosaburo Koji GOTO to mint it.

• 相国寺および臨済宗相国寺派に属する鹿苑寺（金閣寺）や慈照寺（銀閣寺）などが所有する墨蹟・絵画・工芸品等の文化財（国宝 5点と国の重要文化財 136点を含む）を収蔵・展示している。
• It stores and exhibits Cultural Properties (five National Treasures and 136 National Important Cultural Properties) including writings, paintings, and handicrafts owned by Shokoku-ji Temple, Rokuon-ji Temple (Kinkaku-ji Temple) and Jisho-ji Temple (Ginkaku-ji Temple) that are affiliated with the Shokoku-ji School of the Rinzai Zen sect.

• 江戸時代末に農閑期を利用して大和国へ出稼ぎに行った農民が帰りに奈良県で筆や墨を仕入れ、行商するとともに自ら製造し販売したことが始まりと言われ、広島藩の生産奨励も手伝って発展した。
• The origin of the Kumano-fude is said to be that, at the end of the Edo period, farmers who worked as seasonal migrant workers in Yamato Province during the agricultural off-season purchased writing brushes and ink in Nara Prefecture on the way back home and then peddled them, as well as produced them on their own to sell, and later its manufacturing developed with the help of incentives for industry from Hiroshima Domain.

• 国の重要文化財に指定された『鵜図』『枯木鳴鵙図』『紅梅鳩図』他にも『正面達磨図』『盧葉達磨図』『盧雁図屏風』『野馬図』など優れた水墨画・鞍・木刀などの工芸品が現在に伝わっている。
• His painting 'U-zu' (Cormorant), 'Koboku Meigeki-zu' (Shrike on a Withered Branch) and 'Kobai Hato-zu' (Pigeon on a Red Japanese Apricot) are designated as important cultural properties of the country, and there remain his other great works of ink-wash painting such as 'Shomen Daruma-zu' (Bodhidharma Facing Us), 'Royo Daruma-zu' (Bodhidharma by Reed Leaf), 'Rogan-zu Byobu' (Folding Screen of 'Goose by Reed Leaf'), 'Yaba-zu' (Wild Horse), and craft including a saddle and a wooden sword.

• A類は雲母（きら）引き下地の上に彩色したもの、B類は木版墨摺りの下絵に雲母引きを施し、彩色したもの、C類は雲母引きに金銀の箔を散らしたうえで木版で下絵を墨摺りし彩色したものである。
• Class A is color applied to a mica solution undercoat; Class B is mica solution applied to black ink woodblock prints and then colors added; and Class C is gold and silver leaf scattered on mica, then black ink woodblock prints are added and colored.

• 彦根城の天守がかつての大津城天守の用材を転用して建てられている可能性が、昭和32年（1957年）に行われた彦根城天守解体修理の際に符号、墨書きが見つかったことを根拠に示されている。
• When the keep of Hikone-jo Castle was disjointed and repaired in 1957, some notes and inscriptions in India ink were found, which indicates the possibility that the keep of Hikone-jo Castle was built from the materials once used in the keep of Otsu-jo Castle.

• 二条為氏の子二条為世、京極為教の子京極為兼の代になると、二条派は大覚寺統（のちの南朝）と結んで保守的な家風を墨守し、京極派は持明院統（のちの北朝）と結んで破格・清新な歌風を唱えた。
• In the time of Tameyo NIJO, Tameuji NIJO's son, and of Tamekane KYOGOKU, son of Tamenori KYOGOKU, the Nijo school of poetry allied itself with the Daikakuji imperial lineage (which later became the Southern Court) and began adhering to its conservative family (poetic) traditions; the Kyogoku school, however, forged ties to the Jimyoin imperial lineage (which was later to become the Northern Court), and developed an extraordinarily new, fresh poetic style.

• それで教皇アレクサンデルが言うの常としていた、フランス人は戦うための剣ではなく、宿舎に印を付けるための白墨を手にして、イタリアに侵入した、という言葉は真実なのだ。」を参照のこと。
• so that it was true what Pope Alexander was wont to say:That the Frenchmen came into Italy with chalk in their hands, to mark up their lodgings, rather than with swords to fight.'

• 江戸時代後期には「笹紅」といって下唇に何度も紅を塗りつけて金緑に光らせる化粧が流行したが、高価な紅をふんだんに使うため売れっ妓の遊女などを除いては下地に墨を塗って紅を節約したと言う。
• In the latter part of the Edo period, the makeup method in which women applied beni to their lower lips repeatedly to make the lips shine like gold-green was in fashion and this method was called 'sasa beni' (which literally means 'bamboo leaf red'), but women except for popular yujo applied black ink under beni to save beni because this method required plenty of beni, which was very expensive.

• 形式は長大判と同じく「拾両後藤（花押）」と墨書され後藤五代徳乗の書であり、右上に「大」と墨書されたものもあり、上下左右にやや大きめの丸枠桐極印がそれぞれ一箇所、計四箇所打たれている。
• Its style is the same as the Tensho naga oban; on the front, the name of the monetary unit and Tokujo GOTO (the fifth craftsman)'s Kao is written in ink as 'ten ryo Goto'; and a little bigger Kiwamein of paulownia in a circle is stamped at the top, the bottom, the right and the left; some of those have a kanji character '大(big)' in ink at the upper right on the front.

• 『人々心得之覚書』によれば、47人の赤穂浪士は九つ（午後24時ごろ）の鐘によって行動を開始し、江戸市中3か所に集合して、本所 (墨田区)吉良屋敷（現在の本所松坂町公園）へと向かった。
• According to 'The Notes of Rules for People', 47 Ako Roshi started moving into action at around midnight by gathering at three places in Edo and then heading down to the Kira residence (current location of Honjo Matsuzaka-cho Town Park) in Honjo (Sumida Ward).

• スルメといえば現在では基本的にイカの乾燥させたものを指すが、墨を吐く群を「墨群（すみむれ）」と呼んでいたところから転訛したという説があり、かつては乾燥させたタコもスルメと呼ばれていた｡
• Today, surume basically means dried squid but there is an opinion that it is a corrupted pronunciation of 'sumimure,' which once was a generic term for schools of ink-spurting creatures and dried octopus used to be referred to as surume as well.

• しかし1888年11月30日には駐米公使兼駐メキシコ公使だった陸奥宗光が、メキシコ日本との関係との間にアジア以外の国とは初めての平等条約である日墨修好通商条約を締結することに成功する。
• However, on November 30, 1888, the Minister-Counselor to the United States as well as to Mexico Munemitsu MUTSU succeeded in the conclusion of the Mexican-Japanese Treaty of Amity and Commerce, which was the first equal treaty apart from those with the Asian countries.

• 元信の作品は、漢画（大和絵に対して中国風の画を指す）系の水墨画を基礎としつつ、大和絵系の土佐派の様式を取り入れ、書院造建築の装飾にふさわしい日本的な障壁画様式を確立した点に特色がある。
• Motonobu's works are notable for melding the Tosa school style of Yamato-e painting onto the ink-wash painting method of the Kanga style (typically monochrome, Chinese style paintings), and establishing a particularly Japanese style of partition wall painting, suitable for the decoration of buildings of the traditional Shoin-zukuri architectual style.

• この墨は、イカのそれと比べてうま味（特にアミノ酸）が豊富に含まれているが、粘性が低く水に溶けやすいという点と、墨汁嚢が取り出しにくいという点から、加工がしにくく料理には適さないとされる。
• This ink contains abundant umami (especially amino acid) when compared to that of a squid, but it is considered difficult to process and not fit for cooking since the ink has less viscosity and is easier to dissolve in water, in addition to the fact that the ink sac is difficult to take out.

• 大筆も硯の陸の部分で墨を調節したりするのは穂を傷めるので、大作を作る時などは、プラスチックや陶器などで作られた、ヤスリの要素だけを取り除いた「墨池（ぼくち）」というものを使うことが多い。
• Since the top of a big brush can also be damaged by placing it on the riku in order to adjust the amount of Chinese ink, a 'bokuchi,' an ink slab without the file that is made of plastic or earthenware, is often used for big pieces.

• 毛の根元の墨を口で吸ったりして吸い出すことがよく行われているが、品質の良い固形墨・墨液では構わないが、品質について信用できない墨汁などを口に入れることは体に悪い可能性があるので注意する。
• Some people often suck the Chinese ink out from the root of the brush, but caution must be exercised since ink of low quality may adversely affect ones health; this does not apply if ink of high quality is used.

• 1761年（宝暦11年）に制定された「刑法草書」は「徒刑」（懲役刑）制度や保護観察制度、除墨制度を導入した進歩的な法体系であるが、その編纂は明律を参考にしたところが大きいと言われている。
• The 'Keiho sosho,' established in 1761, was a progressive legal system introducing the 'penal servitude' (imprisonment) system, probation system, and tattoo removal system, and is known to have largely consulted the Ming code compilation.

• 美濃国の斎藤龍興との戦いのなかで、墨俣一夜城建設に功績を上げた話が有名だが、『武功夜話』などを典拠とするこのエピソードは当時の史料に関係する記述がなく江戸時代の創作であるとする説が強い。
• There is a famous episode that he achieved to construct Sunomata Castle in one night in the middle of the battle with Tatsuoki SAITO of Mino province; this episode was described in 'Buko-yawa' and others, but there is no description of historical data in the document, so it is considered to be a fiction in Edo Period.

• ここにイスラエルの神の栄光がその座しているケルビムから立ちあがって、宮の敷居にまで至った。そして主は、亜麻布を着て、その腰に物を書く墨つぼをつけている者を呼び、 (エゼキエル書 9:3)
• The glory of the God of Israel was gone up from the cherub, whereupon it was, to the threshold of the house: and he called to the man clothed in linen, who had the writer's inkhorn by his side. (Ezekiel 9:3)

• 中国北宋もしくは日本鎌倉時代以後に、主に水墨画を描く禅僧（例外あり）を特に画僧（がそう）と呼んで、他の絵仏師と区別される場合もあるが、両者が混用される場合もあり、厳密な区別がある訳ではない。
• After the Northern Sung period (China) or Kamakura period (Japan), although there were exceptions, a Zen monk who mainly produced ink-wash paintings was called gaso (an artist monk) and was sometimes distinguished from other ebusshi; however, occasionally both terms were used together, and a clear distinction was not always made.

• 中国で制作された同様の装丁の絵画作品は「画巻」「図巻」等と呼ぶのが普通であり、日本人の作品であっても、水墨画家雪舟の『山水長巻』のような作品については、「絵巻物」とは呼ばないのが普通である。
• Similar pictorial scrolls of kansuso style painted in China are not called 'emakimono' but 'gakan' or 'zukan,' and also ink paintings by Japanese, such as 'Sansui Chokan' (literally, long scroll of landscape scenery) by Sesshu, a ink painter, are usually not called 'emakimono.'

• このような保存・鑑賞・学書に適した形に仕立て上げられた、多く模写や複製による書蹟を「法帖」というが、特に模刻によるものを「刻帖」、対して紙に直接筆記・模写したものを「墨帖」と呼ぶこともある。
• The handwriting thus converted to a suitable form for preservation, appreciation and learning by usually copying and reproducing is referred to as 'hojo,' of which those made by mokoku are called 'kokujo,' while those made by writing/copying directly on paper are called 'bokujo.'

• 慶長小判駿河墨書小判（するがすみがきこばん/するがぼくしょこばん）：「駿河京目壹两（花押）」と墨書され、徳川家康によるもの、あるいは豊臣秀吉の家臣である中村一氏が鋳造させたものとの説もある。
• Keicho-koban Suruga Sumigaki Koban/Suruga Bokusho Koban: '駿河京目壹两 (written seal mark)' (Suruga Kyome [old Japanese unit of measure used around Kyoto] One Ryo) is written in Indian ink and it is said that Ieyasu TOKUGAWA or Kazuuji NAKAMURA, who was a vassal of Hideyoshi TOYOTOMI, had it minted.

• こうした成果をうけて幕府は残虐刑を減らして「過料」「敲（たたき）」「入墨」などの新しい刑罰を導入したが、「享保の改革」自体が保守的な要素をもっていたため、幕府法の全面的な改訂には至らなかった。
• Such achievements led the bakufu to reduce cruel punishments and to introduce new punishments such as 'correctional fines,' 'beating,' and 'tattooing,' but due to the conservative factors of 'Kyoho-no-kaikaku (Kyoho reform)' itself, it did not lead to an overall revision of the bakufu law.

• およそ20年間にわたり日本禅林の振興に力を注ぎ，後の五山文学(鎌倉末期～室町時代の京都五山の禅僧の手になる漢詩文)興隆の基礎を築いた中国・元の禅僧である竺仙梵僊（じくせんぼんせん）の墨蹟である。
• Calligraphy by Chinese Yuan Dynasty Zen monk Zhuxian Fanxian ('Jikusen Bonsen' in Japanese) who worked for around 20 years to promote the Japan Zenrin temple and the later Gozan literature (Chinese poetry composed by Zen monks of the five great Zen temples of Kyoto from end of the Kamakura period to the Muromachi period).

• あなたがたに書きおくることはたくさんあるが、紙と墨とで書くことはすまい。むしろ、あなたがたのところに行き、直接はなし合って、共に喜びに満ちあふれたいものである。 (ヨハネの第ニの手紙 1:12)
• Having many things to write to you, I don't want to do so with paper and ink, but I hope to come to you, and to speak face to face, that our joy may be made full. (2 John 1:12)

• 同年だけで300体以上の木喰仏を発見し、木喰仏の墨書銘や、納経帳や宿帳など自筆文書の発見により断片的な木喰の足跡が解明され、小宮山や山梨日日新聞社長の野口二郎らと雑誌『木喰上人之研究』を発刊する。
• Yanagi found more than 300 pieces of mokujiki-butsu within just an year, discovered fragmentary tracks of Mokujiki-butsu with inscriptions in black ink, sutras and guest records written by Mokuji, and he published 'Research on Mokujiki-shonin' with Komiyama and the president of The Yamanashi Nichinichi Shimbun newspaper, Jiro NOGUCHI.

• 基本的には、朱墨の半印がされた文字と、筆記の漢数字(一方は朱：赤で記載)のある大きめの縦長(縦：82cm 横：36cm)の紙で、裏面には献上物、数、付帯貨物、正使以下の乗船者数などを記入したもの。
• Basically, the Kangofu was a long sheet of paper, large in size (82 cm long by 36 cm across), on which the matching seals with letters in red ink and handwritten Chinese kanji numbers (one of which was written in red ink) were printed, and on the other side of the document the type and number of articles for presentation, supplementary cargo, the number of passengers including the chief delegate were listed.

• 以下淡墨による罫1線を引いて、その上に神名・人名を記しているが、その上に「丹後国印」と彫られた朱方印を押しており（その数は28顆に及ぶ）、丹後国に提出され、その認可を受けたものであることが分かる。
• The straight line is drawn below the central phrase in thin black ink, on which the names of deities and persons are printed, and the square seal with the impression of 'Sealed by Tango Province' are placed above the names in red ink (the number of seals reaches 28), showing that the family tree was submitted to and certificated by Tango Province.

• 今西家住宅は、棟札と呼ばれる上棟時の年号や施主名や大工棟梁を初めとする施工関係者の名を墨書きした細長い板や、屋根の棟の端部を飾る鬼瓦に刻まれた鬼瓦銘と呼ぶ刻銘によって慶安3年の建立年代が明らかである。
• It is clear that the Imanishi-ke Jutaku was built in 1650 because of a long and narrow board referred to as munafuda bearing the year when the framework was completed, name of the client and the other people concerned with the construction including the master carpenter written in ink as well as an inscription referred to as onigawara-mei that was carved on the onigawara (Japanese gargoyle roof tile) that are used to decorate the ends of the roof ridges.

• 20世紀後半以降の研究の進展により、狩野家は下野国足利（栃木県足利市）の長尾氏と何らかの関係があったものと推定されており、足利市の長林寺に残る墨画の『観瀑図』は正信の比較的初期の作品と考えられている。
• Due to the progress of study after the late twentieth century, it is speculated that the Kano family was somehow related to the Nagao clan in Ashikaga, Shimotsuke Province (Ashikaga City, Tochigi Prefecture); and 'Waterfall,' an ink painting that remains at Chorin-ji Temple in Ashikaga City, is considered a relatively early work by Masanobu.

• 自然に存在する数多くの山や川、滝などのなかから特徴的な姿の抽象的表現を極限までつきつめると、石1つで山1つあるいは風景全体ひいては全宇宙を表すとされる盆石や水墨画などと同様に抽象美術としてみなされる。
• When thoroughly investigated the abstract representations of natural features such as mountains, rivers, and waterfalls, there may be one stone that represents a mountain, or scenery as a whole that represents the entire universe, so this is an abstract art similar to miniature landscapes on a tray, or a watery ink painting.

• 図案によっては、こうした模様付けや地色染めが数回繰り返される場合もあり、最後に花の中心部分や動物の目、鳥の羽の模様、昆虫の触角などの細かい部分を墨や顔料で仕上げ、金泥、箔、刺繍などで加飾する場合もある。
• The pattern dyeing and the base dyeing may be repeated several times depending on the design, and sometimes minute sections such as the center of a flower, the eye of an animal, a pattern of wings of a bird or an antenna of an insect may be finished with black ink or pigments and additionally decorated with kindei (gold paint), foil, or embroidery at the end.

• 「今や然らず、漢魏六朝碑を合して四百種を観得るのみならず、近来敦煌市に於て発掘せられたる幾多の墨寶は実に漢碑六朝の肉筆其物にあらずや、之れを唐碑の重刻屢翻のものに比し来らば霄壤も啻ならざるの感あらん。」
• Now, the situation has become quite different; Four hundred inscriptions on monuments in the six Han-Wei dynasties can now be viewed, and in addition, many calligraphic treasures excavated recently in Dunhuang City are definitely genuine calligraphic works in the six Han-Wei dynasties themselves; When compared them with those inscriptions of monuments in Tang that were reprinted and copied many times, the difference is definitely between heaven and earth.

• 「たとえていわば「雪」と「墨」、硯の海も鳴戸の海も、海という字は一つでも、深いと浅いは客と間夫（まぶ＝本命の男）、間夫がなければ遊女は暗闇、暗がりで見てもお前と助六さんを取りちがえてよいものかいナァ」。
• Sukeroku and You may be compared to SNOW and INK. Both Umi, the water container, of ink stone and Naruto no Umi, the straits of Naruto, have the same words Umi, but the former is a shallow and the latter is deep just like my feelings toward you, one of my customers, and Sukeroku, my lover. With no real lover, the life of a courtesan is dark, but I would not take you for Sukeroku-san even in the dark.'

• 江戸は、江戸後期に現在の、千代田区・中央区 (東京都)・港区 (東京都)・新宿区の東側（四谷付近まで）・文京区・台東区・墨田区・江東区の辺り、のちの東京市の内十五区部分ぐらいまで広がったといわれている。
• It is said that in later Edo Period, Edo almost encompassed fifteen Wards of later-Tokyo City, present-day Chiyoda, Chuo, Bunkyo, Taito, Sumida, and Koto wards, as well as the east side of Shinjuku Ward (up to Yotsuya).

• 漱石と子規は早稲田の辺を一緒に散歩することもままあり、その様を子規は自らの随筆『墨汁一滴』で「この時余が驚いた事は漱石は我々が平生喰ふ所の米はこの苗の実である事を知らなかったといふ事である」と述べている。
• Soseki and Shiki often took a stroll around Waseda; Shiki mentioned the strolls with Soseki in his essay 'Bokuju Itteki,' 'I was surprised to find that Soseki did not know that rice, which we eat every day, are seeds of these rice plants.'

• また、連日で両国 (墨田区)・柳橋 (神田川)などの酒楼にて豪遊し、ついに家産が傾きかけたものの、容堂は「昔から大名が倒産した例しがない。俺が先鞭をつけてやろう」と豪語し、家令の諌めを聞かなかったという。
• Although he kept playing around in shuro (restaurants) in Ryogoku (Sumida Ward) and Yanagi-bashi Bridge (Kanda-gawa River), his family property came on the verge of ruin, to which Yodo said 'there has been no daimyo who ever became bankrupt. I'll be the first to do it,' and ignored the candid advice given by the butler.

• この説では、文殊菩薩像墨書銘に願主として殊音（文観）が見えること、「金輪聖主御願成就」とあるのは後醍醐天皇による正中の変の成功を指しているとして、兼光を建武の新政以前から後醍醐天皇に内通していたと見ている。
• According to this theory, Kanemitsu had engaged in secret communication with the Emperor Godaigo before the Kenmu Restoration because Shuon (a priest, also known as Monkan) is listed in the Monju Bosatsuzo Bokushomei as a petitioner, and 'Konrinshoshu migonjoju' (realization of an ambition of being Gold Wheel holy lord) is thought to suggest the success of the Shochu Disturbance which was raised by the Emperor Godaigo.

• これはアレクサンデル六世の名言で、シャルル八世のイタリア占拠がいかに用意だったかを言っており、王はその国を征服するのに兵士の宿舎とする民家に白墨で印をつける補給将校を派遣するだけで十分だったことを示している。
• This is one of the bons mots of Alexander VI, and refers to the ease with which Charles VIII seized Italy, implying that it was only necessary for him to send his quartermasters to chalk up the billets for his soldiers to conquer the country.
• This is one of the _bons mots_ of Alexander VI, and refers to the ease with which Charles VIII seized Italy, implying that it was only necessary for him to send his quartermasters to chalk up the billets for his soldiers to conquer the country.

• その上に、墨家の上帝鬼神の思想信仰、儒教の神道と祭礼の哲学、老荘（道家）の「玄」と「真」の形而上学、さらに中国仏教の業報輪廻と解脱ないしは衆生済度の教理儀礼などを重層的・複合的に取り入れてできあがった物であろう。
• Dokyo seems to have been created by incorporating, both in an integrated fashion and in a layer by layer fashion, Bokka's philosophy and belief of 上帝鬼神 (jotei-kishin: god in the heaven and the ogre preventing disasters), the philosophy of Shintoism and festival rites in Confucianism; the metaphysics of '玄' (gen) '真' (shin: truth) in Laozi and Zhuangzi (Doka); and finally, 業報輪廻 (gyoho-rinne: philosophy concerned with 'cause and effect '[業報], 'rebirth' [輪廻]), Gedatsu (being liberated from earthly desires and the woes of man, [reaching] nirvana, moksha, and mukti) and doctrines and rituals in salvation by Buddha and the Bodhisattvas (Shujyo Saido).

• 『金銀図録』および『大日本貨幣史』によれば、文禄4年（1595年）鋳造となっているが、この説を採ると駿河墨書小判が家康のものであることと矛盾が生じ、豊臣秀吉の家臣である中村一氏が鋳造させたものであるとの説もある。
• According to 'Kinginzuroku' (Gold & Silver catalog) and 'Dainihon Kaheishi' (Great History of Japanese Currency), it was cast in 1595, however, this was contradictory to the theory that Suruga Sumigaki Koban was initiated by Ieyasu; therefore, another theory holds that it was ordered to cast by Kazuuji NAKAMURA, vassal of Hideyoshi TOYOTOMI.

• 表面中央に「拾両後藤（花押）」、右上に「天正十六」などと年号が墨書され、菱形枠の桐極印が上部に一箇所、下部に二箇所に打たれていることから菱大判と呼ばれるが、同形式で丸枠桐極印が上下にそれぞれ一箇所のものの存在する。
• At the middle of the front, the names of the monetary unit and the craftsman's Kao (a stylized signature) are written in ink as 'Ten ryo Goto'; at the upper right, the name of the era is written also in ink such as 'Tensho sixteen (the sixteenth year of Tensho era)'; at the top, one Kiwamein (hallmark) of paulownia in a diamond ('hishi') is stamped; and at the bottom, two same Kiwamein are stamped; therefore it is called 'Tensho hishi oban', however, some of those have one Kiwamein of paulownia in a circle at the top and one same Kiwamein at the bottom, instead of three Kiwamein of paulownia in a diamond.

• 料紙はいずれも雲母（きら）を引き、墨流しや金銀の切箔（きりはく）、野毛、砂子（すなご）などを散らしてきわめて多様に意匠をこらしたもので、そこに濃彩の優美な大和絵風俗画を手彩色の下絵として描き、その上に経文を書写する。
• A solution of powdered mica powder is applied to the paper, which is then decorated using a marbling technique, with grains, slices and pieces of gold or silver leaf randomly sprinkled over each ryoshi, and on such highly decorated paper, elegant Fuzokuga (pictures of manners and customs) in the Yamato-e style were hand painted in deep colors and then sutras written.

• 「全身黒の衣装」「その中には鎖帷子を纏い、顔には墨を塗っている」「背中に刀」「夜陰に紛れて敵地に侵入する」という印象で描かれることが多いが、黒は夜に像が浮いて見えることから、紺色もしくは柿色の衣装を使用していたとされる。
• They are often described as 'dressed in solid black', 'wearing kusari-katabira (chain woven protective wear) inside and paint their face with black ink', 'carrying a sword on the back' or 'break into the enemy territory under cover of darkness', but a figure in black costume can be seen in the night, thus it is considered that their costume was dark blue or persimmon color.

• 「郷村掟」でも代官不正の場合の直訴は例外的に越訴が許容され、実際に越訴があった場合には表面上訴えを受理せず処分の上で管轄役所への申し出を命じたものの、幕府・藩のお墨付きを得た訴えを管轄役所が受理しない訳にはいかなかった。
• Even in 'Goson okite,' if a jikiso was related to injustice of a Daikan, osso was exceptionally allowed and if actual jikiso was made, officials did not accept the appeal officially and punished the people concerned, but told them to appeal to the office responsible for the case, which had no other way than to accept the appeal certified by the bakufu/clans.

• 慶長古鋳小判（けいちょうこちゅうこばん）は初期の慶長小判と位置付けられるもので、慶長5年（1600年）頃、慶長の幣制の成立の前年に家康の方針により武蔵墨書小判の墨書を極印に改め一般流通を前提として鋳造させたものとされる。
• Keicho Kochu Koban is defined as the early Keicho Koban, cast based on Ieyasu's plan, changing sumigaki of Musashi Sumigaki Koban to hallmark, around 1600, previous year in which the currency system of Keicho was established, supposed to be circulated publicly.

• 東福寺からは歴代多くの名僧が出ているが、中で特筆すべきは、『元亨釈書』の著者である虎関師錬（こかんしれん）と、室町時代に画僧として活躍し、その後の仏画や水墨画に多大な影響を及ぼした吉山明兆（きつざんみんちょう）であろう。
• Tofuku-ji Temple has produced a succession of many eminent monks, with the most noteworthy among these being 'Genko-Shakusho' author Kokan Shiren and the artist Kitsuzan Mincho who was active during Muromachi Period and greatly influenced later Buddhist painting and India-ink painting.

• 3月26日、高家肝煎職の御役御免願いを提出したが、旧赤穂藩士との確執が噂され、近所の阿波国徳島藩富田藩蜂須賀氏などからも懸念されたため、8月、幕命により吉良家は松平信望（5000石の旗本）の本所 (墨田区)の屋敷に移された。
• On May 3, he asked to be released from a position of Koke-kimoiri (performing good offices for nobles), but there was a rumor that he was in conflict with retainers of the old Ako domain, and his neighbor the Hachisuka clan, from the Tomida domain in Awa Province, also worried, so in September the bakufu order the Kira family to move to a residence of Nobumochi MATSUDAIRA (hatamoto with 5,000 koku) in Honjo (Sumida Ward).

• 墨流し、打ち雲、飛雲や切り継ぎ、破り継ぎ、重ね継ぎなどの継ぎ紙の技巧そして、中国渡来の紋唐紙を模した紋様を施した「から紙」など、京の工人たちは雁皮紙（がんぴし）の加工に情熱を注ぎ、和紙独特の洗練された加工技術を完成させた。
• The craftsmen in Kyoto devoted themselves to processing ganpishi such as the techniques of paper splicing including suminagashi, uchigumo (paper with a flying cloud), tobikumo (a flying cloud-like pattern appearing on indigo-blue and purple fiber-included paper), kiri-tsugi (cutting and splicing), yaburi-tsugi (cutting two kinds of paper with their ends in a swung dash form and splicing them) and kasane-tsugi (cutting five gradated kinds of paper with their ends in a swung dash form and splicing them), and 'karakami' with patterns that imitated Chinese mon-toshi (colored karakami with patterns), and completed sophisticated processing techniques particular to Japanese paper.

• 雪舟は明応4年（1495年）、76歳の時、弟子の宗淵に与えた作品『山水図』（通称「破墨山水図」）の自賛に、「自分は絵を学ぶために明に渡航したが、そこには求める師はいなかった」と記し、先輩に当たる如拙や周文の画業をたたえている。
• Sesshu wrote, 'I went to Ming in order to learn painting, but there was no teacher I sought' as Jisan (inscription on his own painting) on 'Sansui-zu (landscape picture)' (commonly called 'Haboku-sansui-zu') which was given to his disciple, Soen, at the age of 76 in 1495, and he praised the achievements on the painting of his senior, Josetsu and Shubun.

• 中世以降、禅林を中心に水墨画など中国宋 (王朝)・元 (王朝)の絵画が受容され、日本でも水墨画や漢画（狩野派など）が制作されるようになると、これに対して濃彩を特色とした伝統的な描法・様式で描かれた絵画を大和絵と称するようになった。
• After medieval times when the paintings of Sung and Yuan such as ink-wash paintings were accepted mainly by the temples of the Zen sect and ink-wash paintings and pictures of Han (by Kano School, and so on) were produced, the paintings in the traditional style with characteristically dark colors were called Yamato-e.

• 1696年、風水について触れた著物の1つ、陳畊山「三才発秘」は、1696年に、卯川四番船で中国から輸入されたものであるが一部墨消しと差返しの処分を受けるだけに止まらず1685年以降は禁書の指定を受けた(ref.大庭脩,1967)。
• In one of the books on Feng Shui, Chin KYOSAN stated 'The secret of the three powers [heaven, earth and man]' was imported from China by the Fourth Unsen Ship in 1969, but a part of it was deleted with ink, after 1685 the book was banned (ref. Osamu OBA, 1967).

• 伊藤若冲の障壁画（襖絵）で知られていたが、保存上の問題から承天閣美術館に移管され（下記文化財の項を参照）、現在は加藤東一によって「淡墨桜図」「大杉図」「日輪図」「月輪図」「鵜之図」「臥竜梅図」「千鳥図」「若竹図」等が描かれている。
• It was known for the images painted on its partitions (fusuma) by Jakuchu ITO, but these have since been transferred to the Jotenkaku Museum for preservation (please see the below article on cultural properties) and it now features images by Toichi KATO which include 'A light-ink cherry blossom,' 'Osugi,' 'The sun,' 'The moon,' 'Cormorants,' 'Garyobai plum trees,' 'Plovers' and 'Young bamboo.'

• 当初は無宿である者のみを送ったが、天明8年(1788年)には敲や入墨の刑に処されたが身元保証人がいない者、文化(元号)2年(1805年)には人足寄場での行いが悪い者、追放刑を受けても改悛する姿勢が見えない者まで送られるようになった。
• Though at first only homeless people were sent, the scope of who could be sent gradually widened, beginning in 1788 with those who had been punished with flogging or tattooing and had no personal guarantor, continuing in 1805 with those who had acted poorly at their work-houses, and finally extending to those who had shown no contrition for their crimes even after enduring exile.

• 見よ、北に向かう上の門の道から出て来る六人の者があった。おのおのその手に滅ぼす武器を持ち、彼らの中のひとりは亜麻布を着、その腰に物を書く墨つぼをつけていた。彼らははいって来て、青銅の祭壇のかたわらに立った。 (エゼキエル書 9:2)
• Behold, six men came from the way of the upper gate, which lies toward the north, every man with his slaughter weapon in his hand; and one man in their midst clothed in linen, with a writer's inkhorn by his side. They went in, and stood beside the bronze altar. (Ezekiel 9:2)

• そして、あなたがたは自分自身が、わたしたちから送られたキリストの手紙であって、墨によらず生ける神の霊によって書かれ、石の板にではなく人の心の板に書かれたものであることを、はっきりとあらわしている。 (コリント人への第二の手紙 3:3)
• being revealed that you are a letter of Christ, served by us, written not with ink, but with the Spirit of the living God; not in tablets of stone, but in tablets that are hearts of flesh. (2 Corinthians 3:3)

• しかし、美術史で「水墨画」という場合には、単に墨一色で描かれた絵画ということではなく、墨色の濃淡、にじみ、かすれ、などを表現の要素とした中国風の描法によるものを指し、日本の作品については、おおむね鎌倉時代以降のものを指すのが通常である。
• However, in art history, 'Suigoku-ga' refers not only to paintings in one color with Sumi, but also in Chinese style that include contrasting density, bleeding, and thin spots, and as to the paintings in Japan, it usually refers to those produced after the Kamakura Period.

• 探幽の作品のうち、江戸城と大坂城の障壁画は建物とともに消滅したが、名古屋城上洛殿の障壁画（水墨）は第二次大戦時には建物から取り外して疎開させてあったため空襲をまぬがれて現存しており、他に二条城二の丸御殿や大徳寺方丈の障壁画が現存する代表作である。
• Among Tanyu's works, the screen paintings in the Edo and Osaka castles were lost with the buildings, but the screen paintings (ink paintings) in Jorakuden of Nagoya Castle are existent, having avoided an air raid during World War II because they had been removed from the building and evacuated; additionally, the screen paintings in Ninomaru Palace of Nijo Castle and the hojo of Daitoku-ji Temple are among his best existent works.

• 武蔵墨書小判（むさしすみがきこばん/むさしぼくしょこばん）は「武蔵壹两光次（花押）」と墨書された駿河墨書小判と同形式の小判であり武蔵墨判（むさしすみばん）とも呼ばれ、楕円形のもので埋め金により量目調整されたものおよび、長楕円形の形状のものがある。
• Musashi Sumigaki Koban is also called Musashi Sumiban, the same style koban as Suruga Sumigaki Koban, which has 'Musashi Ichiryo Mitsutsugu (kao)' in ink, and it's shape is oval with adjusted ryome by filled metal or oblong.

• 表面は「拾両後藤（花押）」と墨書され、後藤十二代寿乗、十三代延乗、十四代桂乗、十五代真乗、十六代方乗、十七代典乗の書があり、上下左右に丸枠桐紋極印がそれぞれ一箇所、計四箇所打たれ、形状はやや角ばった楕円形であるが慶長大判より撫肩となる。
• it was an oval coin with slightly angular edges, but which was more rounded than the Keicho-Oban, and bore the letters 'ju-ryo GOTO' written on the face of the coin in ink by Jujo, who was the twelfth family head of the GOTO clan, then by Enjo the thirteenth family head, followed by Keijo the fourteenth family head, Shinjo the fifteenth family head, Hojo the sixteenth family head, and Tenjo the seventeenth family head, and bore the stamp of a paulownia in a circle on all four corners of the coin.

• その風貌は、目は墨壷のようで曲直を正し、歯は鋸のよう、首は手斧のよう、さいづち頭（木槌のように額と後頭部のでっぱった頭）で、指は墨刺（竹の筆）、肘は曲尺（直角に曲がったものさし）、肩は南蛮錐の柄のよう、足は金づちと、まさに生まれついての大工である。
• His appearance shows that he is an innate carpenter, because he has eyes like an inkpot, clarifying what is right and what is wrong, and has saw-like teeth, an adze-like neck, a mallet-shaped head (his forehead and the back of the head protrude like a mallet), fingers like a bamboo brushes, elbows like a carpenter's square, shoulders like the Southern barbarian gimlet, and hammer-shaped feet.

• 現存しない原本である南坊自筆本は、体裁としては南坊宗啓が書いた後に、利休に証明として在判（「墨引」のみは焼却するようにとの注意書き）をもらっていることになっているが（利休没後に書き足された「滅後」は除く）、実山創作説を採ると全ては実山による演出となる。
• The lost original book written by NANBO in his own hand (except for 'Metsugo,' which was added after Rikyu's death) is said, after Sokei NANBO finished writing, to be given Rikyu's Kao (written seal mark) (along with the notes saying only 'Sumibiki' should be burned) to prove it's the original; but according to the theory that Nanboroku was written by Jitsuzan, everything was organized by him.

• 全7巻の内、「覚書」から「台子」までの5巻は、貞享3年（1687年）に千家（南方録・奥書）あるいは「利休秘伝茶湯書五巻所持の人」（岐路弁疑・牒）が秘蔵していたものを書写、その後元禄3年に堺の「宗啓肉族、納屋宗雪」所持の2巻「墨引」「滅後」を書写したという。
• Among seven volumes of the Tachibana book, the first five volumes, from 'Memorandum' to 'Daisu' (a stand for utensils used in the tea ceremony), were copied in 1687 from the treasured volumes kept by the House of Sen (based on Okugaki (postscript) of Nanboroku) or 'the person who has the five volumes of a book of Rikyu's secret teachings for Tea Ceremony' (based on cho (official documents) of Kirobengi (The Tea Book of Jitsuzan Tachibana)); the other two volumes, 'Sumibiki' (Cross out) and 'Metsugo' (After Rikyu's Death), were copied in 1690 from the book owned by 'Sosetsu NAYA, a blood relation of Sokei' in Sakai.

• 「守貞漫稿」には食品以外にもほうき、花、風鈴、銅の器、もぐさ、暦、筆墨、樽、おけ、たき付け用の木くず、ざる、蚊帳、草履、みのかさ、植木、小太鼓、シャボン玉、金魚、鈴虫・松虫などの昆虫、錦鯉など日用品や子供のおもちゃ、果てはペットを商う振売も紹介されている。
• In addition to the food peddlers, the 'Morisadamanko' introduces other furiuri dealing with daily necessities including brooms, flowers, wind bells, copper containers, moxa, calendars, ink, barrels, tubs, kindling woodchips, baskets, mosquito nets, sandals, straw raincoats and hats, garden trees, small drums, soap bubbles, gold fish, insects such as bell cricket and pine cricket, varicolored golden carps as well as children's toys, and on top of that, pet peddlers are introduced.

• 一般の慶長小判がV字型断面の鏨目になっているのに対し、不規則で細密なU字型断面の槌目で形状が縦長であり古朴な印象を受けるもので、長小判（ながこばん）とも呼ばれ、量目および金品位は武蔵墨書小判のものが踏襲され、その後の初期の慶長小判に引き継がれたものと思われる。
• It was also called Nagakoban due to its oblong shape, irregular and minute hammer tone of U shape cross section while ordinary Keicho Koban has straw matt tone of V shape cross section, and its ryome and gold carat followed that of Musashi Sumigaki Koban, being inherited by the early Keicho Koban later.

• 『源氏物語大成』の底本としての大島本についても、大島本という写本が、当初書かれた本文に対して時代の異なる、おそらく最初に書写されてよりあまり間をおかない時期から、おそらくは江戸時代末期ころまでの期間にわたる複数人によると見られる多くの墨筆・朱筆による書入れ・ミセケチ等が行われている。
• The Oshima-bon manuscript, as the original text of 'Genji monogatari taisei,' contain many notes in black or red ink and deleted characters with a line, which seem to have been done by several people during the term from maybe not long after it was first transcribed till probably the late Edo period.

• 骨縛りは引きの強い反故紙を用い、中期工程には湊紙（和泉の湊村で漉かれた漉き返しの紙で、薄墨または鼠色の紙）や茶塵（ちゃちり）紙（楮の黒皮のくずから漉いた紙や、故紙を再生したもので単に塵紙ともいう）を用い、清貼の工程には粘りの強い生漉きの美濃紙・細川紙・石州半紙などが用いられた。
• For hone-shibari, wastepaper that has strength was used, for intermediate processes Minato-gami (Minato paper, a paper made of used paper in Minato-mura village, Izumi Province with thin black or gray color) or chachiri-shi (a paper made from the wastes of the black bark of paper mulberry trees) was used, and for the process of kiyo-bari, the highly sticky kizuki such as Mino-gami, Hosokawa-gami and Sesshu-hanshi (standard-size Japanese writing paper made in Iwami Province) were used.

• この頃の所領は不明であるが、歴史学者の網野善彦は、文永2年（1265年）11月に兼光の曾祖父伊賀光宗の跡（後継者）として、若狭国耳西郷・日向浦の地頭職を継承したことが確認されている伊勢前司、及び、元亨4年（1324年）3月の日付がある大和国般若寺の文殊菩薩像墨書銘に見える施主前伊勢守藤原兼光を、伊賀兼光と推定している。
• Although his shoryo (territory) at this time is unknown, a historian Yoshihiko AMINO assumes that FUJIWARA no Kanemitsu as follows was Kanemitsu IGA; the former Governor of Ise Province who took over the position of Jitoshiki (manager and lord of manor) of the Jisei-kyo Village and Hyugaura in Wakasa Province in December 1265 as the heir of Mitsumune IGA, great grandfather of Kanemitsu, and a donor and former Ise no kami (Governor of Ise Province) who appears on Monju Bosatsuzo Bokushomei (statue of Manjusri [bodhisattva], ink inscriptions) of the Hannya-ji Temple in Yamato Province dated in April 1324.

• 駿河墨書小判（するがすみがきこばん/するがぼくしょこばん）は天正大判と類似の槌目（つちめ）で大判と同形式の楕円形の小判であり「駿河京目壹两（花押）」と墨書され、京目一両小判（きょうめいちりょうこばん）あるいは駿河墨判（するがすみばん）とも呼ばれ、家康が天正年間に駿河国に移ってから鋳造させた領国貨幣との説があるが定かでない。
• Suruga Sumigaki Koban consists of a large-sized old Japanese gold coin with hammer tone resembling Tensho-Oban and a oval koban with the same style as Oban,having written 'Suruga kyoumoku ichiryo (kao)' in ink, called Kyoume Ichiryo Koban or Suruga Sumiban, and a theory has it that it was daimyos' own territory currency Ieyasu ordered to cast after he moved to Suruga Province in Tensho era, however, which is not clear.

• 聖徳太子については『日本書紀（巻22推古紀）』、「三経義疏」、「天寿国繍帳（天寿国曼荼羅繍帳）」、「法隆寺薬師像光背銘文」、「法隆寺釈迦三尊像光背銘文」、「法隆寺釈迦三尊像台座内墨書」、「道後湯岡碑銘文（＝伊予湯岡碑文、伊予国風土記逸文に記録。）」、「法起寺塔露盤銘」、『上宮記』、『上宮聖徳法王帝説』などの歴史的資料がある。
• Historical sources about Shotoku Taishi include 'Nihonshoki' (Vol. 22, Suikoki), 'Sangyo Gisho,' 'Tenjukoku Shucho' (Tenjukoku Mandala Shucho), 'The halo inscription of the statue of Yakushi Zo in Horyu-ji Temple,' 'The halo inscription of the statue of Shaka Sanson Zo in Horyu-ji Temple,' 'The text written in sumi inside the pedestal of the statue of Shaka Sanson Zo in Horyu-ji Temple,' 'Dogo yuokahimeibun (=Iyo yuokahibun, recorded in the Iyo no Kuni Fudoki Itsubun)', 'Hokijito Robanmei,' 'Joguki,' and 'Jogu Shotoku Hoo Teisetsu.'

• 後世においては製造に高度な技術を必要として製造経費もかかる白紙ではなく、低廉で非常時の綸旨発給に備えやすい中古紙からの再生紙である薄墨紙（宿紙/漉返紙）が用紙として用いられるようになり、後に綸旨には薄墨紙用いる事を書式とする慣例が成立したために、薄墨紙を「綸旨紙」、綸旨自体を「薄墨綸旨」と呼ぶ例も見られるようになった（ただし、天皇から蔵人頭・蔵人以外の官人（弁官など）に対して作成・発給が命じられた場合には薄墨紙は用いられていない）。
• In the later age, usuzumi gami (gray paper) (shukushi (recycled paper) or sukigaeshi gami (paper made from dissolved paper), recycled paper made from used paper, which was inexpensive and easy to be stocked for urgent issuance of rinji, came to be used instead of white paper whose manufacturing cost was expensive because an advanced technique was required for manufacturing, and thereafter it became a custom to use usuzumi gami for rinji as a documentary format; therefore, in some cases, usuzumi gami was called 'rinji gami' (rinji paper), and rinji itself was called 'usuzumi rinji' (however, usuzumi gami was not used for rinji which was created and issued by the Emperor to government officials (esp. low to medium rank) (such as benkan, etc.) other than Kurodo no to (Head Chamberlain) and Kurodo).

• まず元禄14年8月19日 (旧暦)（1701年9月21日）に吉良家の屋敷が江戸城のお膝元呉服橋から当時江戸の外れといわれていた本所（現東京都墨田区両国 (墨田区)）の松平信望の上ゲ屋敷に屋敷代えとなり、さらにその直後の8月21日 (旧暦)（8月23日）には、庄田下総守（浅野を庭先で切腹させた大目付）、大友義孝（吉良義央と親しくしていた高家仲間）、東条冬重（吉良義央の実弟）の三名を同時に呼び出して「勤めがよくない」などと咎めて役職を取り上げた。
• Kira was forced to change his residence located in Gofuku-bashi near Edo-jo Castle to the residence of Nobumochi MATSUDAIRA located in Honjo, the edge of Edo (current location of Ryogoku, Sumida Ward, Tokyo) on September 21, 1701, and on August 23, the bakufu then called the governor of Shimousa, Shoda (ometsuke who was in charge of Asano's seppuku in the yard), Yoshitaka OTOMO (a Koke member who was close with Yoshinaka KIRA) and Fuyushige TOJO (who was a biological brother of Yoshinaka KIRA) and took their positions away by saying 'your services were not good enough.'

• 歌右衛門生涯の当たり役は非常に多く、『京鹿子娘道成寺』の白拍子花子、『籠釣瓶花街酔醒（籠釣瓶）』の八つ橋、『祗園祭礼信仰記（金閣寺）』の雪姫、『鎌倉三代記・絹川村』の時姫、『本朝廿四孝・十種香』の八重垣姫、『東海道四谷怪談』のお岩、『妹背山婦女庭訓（妹背山）』の定高、お三輪、『沓手鳥孤城落月（孤城落月）』の淀君、『仮名手本忠臣蔵・九段目』の戸無瀬、『積恋雪関扉（関の扉）』の小町と墨染、『恋飛脚大和往来・新口村』の梅川、『攝州合邦辻・合邦庵室』の玉手御前、『伽羅先代萩』の政岡、『鏡山旧錦絵（鏡山）』の尾上、『隅田川続俤（隅田川）』の班女など、娘形から姫、片はずし、傾城に至るまで、あらゆる女形の領域をこなした。
• Utaemon performed many successful characters in his lifetime, and those were Shirabyoshi (women who play Shirabyoshi (Japanese traditional dance)) Hanako of 'Kyo Kanokomusume Dojoji' (The maiden at Dojo Temple), Yatsuhashi of 'Kago Tsurube Satono Eizame' (Basket bucket in red-light district), Yukihime of 'Gion Sairei Shinkoki' (The Gion Festival Chronicle of Faith)(Kinkaku-ji Temple), Tokihime of 'Kamakura Sandaiki, Kinugawa-mura' (Three Generations of the Kamakura Shogunate in Kinugawa Village), Yaegaki-hime of 'Honcho Niju-shi ko, Jusshuko' (24 Paragons of Filial Piety of our Country, Incense Burning), 'Oiwa of 'Tokaido Yotsuya Kaidan' (Tokaido Yotsuya Ghost Stories), Sadaka and Omiwa of 'Imoseyama Onna Teikin' (An Exemplary Tale of Womanly Virtue in Mt. Imose), Yodogimi of 'Hototogisu Kojo no Rakugetsu' (The Sinking Moon over the Lonely Castle Where the Cuckoo Cries), Tonase of 'Kanadehon Chushingura, Kudanme' (The Treasury of Loyal Retainers, 9th act), Komachi and Sumizome of 'Tsumoru Koiyuki no Seki no To' (The Barrier Gate), Umegawa of 'Koibikyaku Yamato Orai, Ninokuchi-mura' (The Amorous Courier on the Yamato Highway, Ninokuchi Village), Tamate-Gozen of 'Gappo Anjitsu (hermitage of Gappo), Sesshu Gappo ga Tsuji (A Kabuki Drama of Unfettered Evil),' Masaoka of 'Meiboku Sendai Hagi' (The trouble in the Date Clan), Onoue of 'Kagamiyama Kokyo no Nishikie' (old brocade pictures of Mt. Kagami), Hanjo of 'Sumida-gawa Gonichi no Omokage' (Latter-day Reflections of the Sumida-gawa River), and he acted many types of female roles, such as a daughter, princess, Katahazushi (female role of nyobo (a court lady) of a samurai family or goten jochu (palace maid)), and keisei (courtesans with high dignity and literacy).