戸世美の英語

江戸時代に多くの茶書によって茶道の根本美意識と位置付けられるようになり、侘を「正直につつしみおごらぬ様」と規定する『紹鴎侘びの文』や、「清浄無垢の仏世界」とする『南方録』などの偽書も生み出された。例文帳に追加

During the Edo period, the fundamental sense of beauty of tea ceremony became established and even apocryphal books emerged such as "Shoo Wabi no Bun" (Shoo essay on wabi) defining wabi as 'honestly and prudence,' and "Nanporoku" which described wabi as 'Buddha's world of purity.'発音を聞く  - Wikipedia日英京都関連文書対訳コーパス

手鞠とは、当初は、芯に糸を巻いただけの物であったが、16世紀末頃より、芯にぜんまい綿などを巻き弾性の高い球体を作り、それを美しい糸で幾何学的に巻いて作られた江戸時代からの玩具。例文帳に追加

Temari is a toy which existed since the Edo period; in the beginning, it was made by merely winding threads around a ball, but since around the end of the 16th century, beautiful threads were geometrically wound around a spherical body, which was more elastic because of the zenmai cotton (cotton made of flowering fern) used.発音を聞く  - Wikipedia日英京都関連文書対訳コーパス

日本民藝館の創設者であり民芸運動の中心人物でもある柳宗悦は、日本各地の陶磁器、染織、漆器、木竹工など、無名の工人の作になる日用雑器、朝鮮王朝時代の美術工芸品、江戸時代の遊行僧・木喰（もくじき）の仏像など、それまでの美術史が正当に評価してこなかった、西洋的な意味でのファインアートでもなく高価な古美術品でもない、無名の職人による民衆的美術工芸の美を発掘し、世に紹介することに努めた。例文帳に追加

Muneyoshi YANAGI, who was the founder and key figure of the Mingei (National Art) Movement worked hard to discover beauty of folkish art craftworks by unknown craftsman of ceramic ware, dyeing and weaving, lacquer ware, and woodwork such as daily use ware in various places in Japan and art crafts in Korean Dynasties period and Buddha statues of traveling monk or mokujiki in the Edo period which had not been fairly evaluated and not fine arts or expensive antiquities in the western sense and introduced them to public.発音を聞く  - Wikipedia日英京都関連文書対訳コーパス

その後新渡戸稲造がアメリカ人に紹介するために書いた『武士道(新渡戸稲造)』が、日清戦争以降、逆輸入され広く受け入れられ、大日本帝国の軍人が持つべき倫理と接合して、軍人の倫理の骨格をかたちづくり、また一方では、美学として文学や芸能の世界でさまざまなかたちとなってあらわれた。例文帳に追加

Later, Inazo NITOBE wrote "Bushido (Inazo NITOBE)" to introduce bushido to American people, but after the Sino-Japanese War, it was reimported to Japan and formed the ethical framework for military officers, mixing with the ethics which the military officers of the Empire of Japan should have, and on the other hand it appeared as aesthetic in various forms in the world of literature or entertainment.発音を聞く  - Wikipedia日英京都関連文書対訳コーパス

聖徳太子虚構説に対する反論としては、遠山美都男『聖徳太子はなぜ天皇になれなかったのか』（2000年）、上原和『世界史上の聖徳太子-東洋の愛と智慧』（2002年）、直木孝次郎「厩戸王の政治的地位について」、上田正昭「歴史からみた太子像の虚実」（『聖徳太子の実像と幻像』所収）（2001年）、曽根正人『聖徳太子と飛鳥仏教』（2007年）、森田悌『推古朝と聖徳太子』（2005年）などがある。例文帳に追加

Those opposing the persons insisting that Shotoku Taishi was a fictitious figure include: Mitsuo TOYAMA, who wrote "Shotoku Taishi ha Naze Tenno ni Narenakattanoka" (Why Shotoku Taishi could not become the emperor) (2000); Kazu UEHARA, who wrote "Sekaishijo no Shotoku Taishi - Toyo no Ai to Chie" (Shotoku Taishi in the world history - Compassion and Wisdom of the East) (2002); Kojiro NAOKI, who wrote 'Umayatoo no Seijiteki-chii ni Tsuite' (About the political status of Umayatoo); Masaaki UEDA, who wrote 'Rekishi kara Mita Taishi Zo no Kyojitsu' (Fact and Fiction of the figure of Taishi from the historical view) (contained in the "Shotoku Taishi no Jitsuzo to Genzo" [Fact and Fiction of Shotoku Taishi]) (2001); Masato SONE, who wrote "Shotoku Taishi to Asuka Bukkyo" (Shotoku Taishi and Asuka Buddhism) (2007); and Tei MORITA, who wrote "Suikocho to Shotoku Taishi" (the Court of Empress Suiko and Shotoku Taishi) (2005).発音を聞く  - Wikipedia日英京都関連文書対訳コーパス