nntsuzu/KFTT huggingface dataset:
English: Eitoku excelled at elaborate paintings and monumental paintings, although he had no choice but to paint in the monumental painting style in order to fill a large number of orders for screen paintings.
Japanese: 永徳は細画（さいが）と大画（たいが）のいずれをも得意としたが、大量の障壁画の注文をこなすために、大画様式で描かざるをえなかったという。
English: An elaborate painting is interpreted as a work described in every detail, and monumental painting is interpreted as having a high-minded style.
Japanese: 細画とは細部まで細かく描き込んだ絵、大画は豪放な作風の絵と解釈されている。
English: "Viewing Maple Leaves in Takao," a designated national treasure, has the seal of 'Hideyori'; it has been said that this was painted by Hideyori KANO (birth and death dates unknown), the second son of Motonobu KANO; however, it is also said that this 'Hideyori' of "Viewing Maple Leaves in Takao" is another painter called Hideyori SHINSHO, a grandson of Motonobu.
Japanese: 国宝の『高雄観楓図』には「秀頼」の印があり、古来、狩野元信の次男・狩野秀頼（生没年未詳）の作とされているが、『高雄観楓図』の筆者の「秀頼」は別人で、元信の孫にあたる真笑秀頼という絵師だとも言われている。
English: Soshu KANO (1551 - 1601) was a brother of Eitoku, also called Motohide, and worked as an assistant to Eitoku in the creation of the screen paintings in Azuchi Castle.
Japanese: 狩野宗秀（そうしゅう、1551-1601）は元秀（もとひで）とも称し永徳の弟で、安土城障壁画制作などで永徳の助手として働いた。
English: Naganobu KANO (1577 - 1654), another brother of Eitoku, is renowned as the painter of "Playing Under the Flowering Trees," a national treasure.
Japanese: やはり永徳の弟である狩野長信（1577-1654）は『花下遊楽図』（国宝）の筆者として名高い。
English: As painters other than the direct line of the Kano family, Yoshinobu KANO (1552 - 1640), who painted "Craftspeople, folding screen" in Kawagoe Kitain, and Naizen KANO (1570 - 1616), who painted "Hokoku Festival, folding screen" in Kyoto Toyokuni-jinja Shrine (Kyoto City), are well known.
Japanese: 狩野家直系以外の絵師としては、川越・喜多院の『職人尽図屏風』の筆者である狩野吉信（1552-1640）、京都・豊国神社(京都市)の『豊国祭図屏風』の筆者である狩野内膳（1570-1616）らが知られる。
English: Eitoku's first son Mitsunobu KANO (c. 1565 - 1608) and second son Takanobu KANO (1571 - 1618) succeeded him.
Japanese: その後を継いだのは永徳の長男・狩野光信（1565?-1608）と次男・狩野孝信（1571-1618）である。
English: Mitsunobu created the screen paintings in the Reception Hall of Kangakuin, Onjo-ji Temple; in contrast to Eitoku he specialized in delicate painting in the Yamatoe style.
Japanese: 光信は、園城寺勧学院客殿障壁画などを残し、永徳とは対照的な、大和絵風の繊細な画風を特色とした。
English: Such a style of painting might not have suited the public taste at the time, and the early modern essays on paintings, including "Honchogashi," generally put a low value on Mitsunobu.
Japanese: こうした画風が制作当時の一般的な好みに合致しなかったためか、『本朝画史』などの近世の画論は一様に光信を低く評価している。
English: After the death of the Kano ｆamily head Mitsunobu, his brother Takanobu led the Kanoha group because his son Sadanobu KANO (1597 - 1623) was only 12 years of age.
Japanese: 狩野家の頭領である光信が死去した時、その子の狩野貞信（1597-1623）はまだ12歳の若年であったので、光信の弟である孝信が狩野派を率いることとなった。
English: Under the feudal system, the family line of Sadanobu, Mitsunobu's first son, was supposed to be the head of family; however, Sadanobu died without an heir at the age of just 27, so after that the legitimacy of the Kano family was the descendant of Takanobu till the end of the Edo period.
Japanese: 封建制度の下では、光信の長男である貞信の家系が宗家となるはずであったが、貞信が27歳で早世し後継ぎがなかったため、以後、幕末に至る狩野家の正系は孝信の子孫となっている。
English: Takanobu had three sons--Morinobu (Tanyu 1602 - 1674), Naonobu KANO (1607 - 1650) and Yasunobu KANO(1613 - 1685)--and they respectively became the earliest ancestor of the Kajibashi Kano family, Kobikicho Kano family and Nakabashi Kano family.
Japanese: 孝信には守信（探幽、1602-1674）、狩野尚信（1607-1650）、狩野安信（1613-1685）の3人の男子があり、この3人はそれぞれ鍛冶橋狩野家、木挽町（こびきちょう）狩野家、中橋狩野家（宗家）の祖となった。
English: Although the youngest son, Yasunobu, succeeded as the Kano head of family as an adopted son of Sadanobu (mentioned above), the most renowned painter was Morinobu (also known as Tanyu).
Japanese: 末弟の安信は前述の貞信の養子という扱いで狩野の宗家を継ぐことになったが、絵師として最も名高いのは探幽こと守信である。
English: Morinobu later became a priest and called himself Tanyusai; as a painter he is known as Tanyu KANO.
Japanese: 守信は、後に出家して探幽斎と称し、画家としては狩野探幽の名で知られる。
English: He eventually moved to Edo and solidified the position of the Kanoha group in the art world more as the official painter of the Edo shogunate.
Japanese: 後に江戸に本拠を移し、江戸幕府の御用絵師として、画壇における狩野派の地位をますます不動のものとした。
English: Tanyu exercised his painting talent from childhood; in 1612, he met Ieyasu TOKUNAGA in Sunpu at the age of 11 and obtained a residence in Edo Kajibashi Mongai in 1621, subsequent to which he worked based in Edo and energetically created screen paintings in castles and large temples.
Japanese: 探幽は幼少時より画才を発揮し、慶長17年（1612年）、11歳の時に駿府で徳川家康に対面、元和(日本)7年（1621年）には江戸鍛冶橋門外に屋敷を得て、以後江戸を拠点に活動し、城郭や大寺院などの障壁画を精力的に制作した。
English: 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.
Japanese: 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。
English: He created various kinds of works, including hanging rolls, picture scrolls and folding screens, as well as these large paintings.
Japanese: これら大画面のほかにも、掛軸、絵巻、屏風などあらゆるジャンルの作品を残している。
English: 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.
Japanese: 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。
English: Tanyu emphasized sketches and the copying of ancient paintings; consequently, he left numerous sketch books and reproduction books.
Japanese: 探幽は写生（スケッチ）や古画の模写を重視し、写生図集や模写画集を多数残している。
English: Many of Tanyu's copies of ancient paintings (called 'Tanyu Reduction') are existent, which are now part of museums and collections around the nation, and they include many copies of ancient paintings whose originals are now lost, so they are valuable as data for the study of Japanese art history.
Japanese: 「探幽縮図」と称される探幽筆の古画模写は多数現存しており、各地の美術館や収集家が所蔵しているが、これらには今日では原画が失われてしまった古画の模写も多数含まれており、日本絵画史研究上、貴重な資料となっている。
English: The Kanoha group during the Edo period was a huge painting group comprised of a consanguinity group mainly with the head family of the Kano family and numerous disciples around the nation, thus comprising a hierarchy.
Japanese: 江戸時代の狩野派は、狩野家の宗家を中心とした血族集団と、全国にいる多数の門人からなる巨大な画家集団であり、ピラミッド型の組織を形成していた。
English: They are clearly ranked: under the most prestigious four families (called 'inner court painters') there are about 15 families less prestigious called 'outer court painters' and then the 'Machi Kano painters' who catered to the demands of townspeople instead of the Imperial Court or temples and shrines; and consequently their influence spread throughout the nation.
Japanese: 「奥絵師」と呼ばれる、もっとも格式の高い4家を筆頭に、それに次いで格式の高い「表絵師」が約15家あり、その下には公儀や寺社の画事ではなく、一般町人の需要に応える「町狩野」が位置するというように、明確に格付けがされ、その影響力は日本全国に及んでいた。
English: The powers of the time sought the stability and continuity of feudal society, and the paintings for public places such as Edo Castle were supposed to be painted in the style of traditional painting examples; they were not intended to be unique.
Japanese: この時代の権力者は封建社会の安定継続を望み、江戸城のような公の場に描かれる絵画は、新奇なものより伝統的な粉本に則って描かれたものが良しとされた。
English: In order to create numbers of screen paintings, one must work in a group with all the disciples; therefore, in order to make group work easier, the ability to learn from painting examples was valued more than one's individuality as a painter.
Japanese: また、大量の障壁画制作をこなすには、弟子一門を率いて集団で制作する必要があり、集団制作を容易にするためにも絵師個人の個性よりも粉本（絵手本）を学習することが重視された。
English: In this respect it is undeniable that the paintings of the Kanoha group lack individuality and originality.
Japanese: こうした点から、狩野派の絵画は、個性や新味に乏しいものになっていったことは否めない。
English: It is said that the inner court painters ranked with Hatamoto and were allowed 'audience' with the Shogun as well as belting on a sword, which implies a high status.
Japanese: 奥絵師は旗本と同格で、将軍への「お目見え」と帯刀が許されたというから、その格式の高さがうかがえる。
English: The four families of the inner court painters are the Kajibashi family, with lineage of Tanyu (the first son of Takanobu KANO); the Kobikicho family (called Takekawa-cho family at the time), with lineage of Naonobu (the second son of Takanobu); the Nakabashi family with lineage of Yasunobu (the third son of Takanobu); and the Hamacho family, with lineage of Minenobu KANO (1662 - 1708) (Minenobu is the second son of Tsunenobu KANO, the first son of Naonobu KANO).
Japanese: 奥絵師の4家とは探幽（狩野孝信の長男）の系統の鍛冶橋家、尚信（孝信の次男）の系統の木挽町家（当初は「竹川町家」）、安信（孝信の三男）の系統の中橋家、それに狩野岑信（みねのぶ、1662-1708）の系統の浜町家である（岑信は、狩野尚信の長男である狩野常信の次男）。
English: Because Tanyu had no child, he adopted Toun (Masunobu KANO 1625 - 1694), the son of Ryujo GOTO, a swordsmith.
Japanese: 探幽には初め実子がなかったため、刀剣金工家の後藤立乗の息子の洞雲（狩野益信、1625-1694）を養子とした。
English: Later, Morimasa KANO (1653 - 1718) who was his biological son (born after Tanyu turned 50) succeeded him, but subsequently this lineage had no distinguished painter.
Japanese: 後に探幽が50歳を過ぎて生まれた実子である狩野守政（1653-1718）が跡を継ぐが、この系統からはその後見るべき画家は出なかった。
English: Among the numerous disciples of Tanyu, Morikage KUSUMI (birth and death dates unknown), the creator of "Enjoying the Cool of the Evening Under the Moonflower Trellis," is renowned.
Japanese: 探幽には多くの弟子がいたが、中では『夕顔棚納涼図』を残した久隅守景（くすみもりかげ、生没年未詳）が著名である。
English: Morikage was for some reason expelled from the Kanoha group; he worked in the Kanazawa area later, but his records aren't completely clear.
Japanese: 守景は何らかの事情で狩野派を破門になり、後には金沢方面で制作したが、経歴について不明な点が多い。
English: As stated previously, the head family of Kano was succeeded by the Nakabashi Family of Yasunobu, a brother of Tanyu.
Japanese: 前述のとおり、狩野家の宗家は、探幽の弟・安信の中橋家が継ぐことになった。
English: Tokinobu KANO (1642 - 1678), a son of Yasunobu, died in his thirties, and his son Ujinobu KANO (1675 - 1724) succeeded the family estate; however, subsequently this lineage had no distinguished painter.
Japanese: 安信の子の狩野時信（1642-1678）は30代で没し、その子の狩野主信（うじのぶ、1675-1724）が家督を継ぐが、この系統からもその後目立った画人は出ていない。
English: Itcho HANABUSA (1652 - 1724), who was popular based on his sophisticated painting style, was a disciple of Yasunobu.
Japanese: 都会的な画風で人気を博した英一蝶（はなぶさいっちょう、1652-1724）は安信の弟子であった。
English: The family that produced relatively prominent painters until the end of the Edo period among the four families of the inner court painters is the Kobikicho family, of Naonobu's lineage.
Japanese: 奥絵師4家の中で、幕末まで比較的高名な画人を輩出したのは、尚信の系統の木挽町家である。
English: This family line produced Tsunenobu KANO (1636 - 1713), the heir of Naonobu, and Tsunenobu's sons, Chikanobu KANO (1660 - 1728) and Minenobu KANO (1662 - 1708).
Japanese: この家系からは尚信の嫡男の狩野常信（1636-1713）、その子の狩野周信（ちかのぶ、1660-1728）と狩野岑信（みねのぶ、1662-1708）らが出ている。
English: Minenobu won the favor of the Shogun Ienobu TOKUGAWA, and he later gained independence as 'Hamacho family,' which was ranked as one of the inner court painter families.
Japanese: 岑信は将軍・徳川家宣の寵愛を受け、後に「浜町家」として独立し、「奥絵師家」の1つに数えられるようになった。
English: Besides them, Koi KANO (date of birth unknown - 1636) was not related by blood to the Kano family but, along with his brothers, was a master of Tanyu; he was allowed to use the surname of Kano due to his achievements, and he worked for the Kishu Tokugawa family.
Japanese: このほか、狩野興以（?-1636）は狩野家の血族ではないが、探幽ら3兄弟の師匠筋にあたる人物で、その功績によって狩野姓を与えられ、後に紀州徳川家に仕えている。
English: Meanwhile, a group called 'Kyo Kano' remained active in Kyoto, and Sanraku KANO (1559 - 1635), a disciple of Eitoku KANO, was the pillar of the group.
Japanese: 一方、京都に残って活動を続けた「京狩野」という一派もあり、狩野永徳の弟子であった狩野山楽（1559-1635）がその中心人物である。
English: Sanraku was from the Kimura clan in Omi, the vassal of Hideyoshi TOYOTOMI; his original name was Mitsuyori KIMURA.
Japanese: 山楽は豊臣秀吉の家臣であった近江の木村家の出で、元の名を木村光頼と言った。
English: His best works are "Peonies" and "Red and White Plum Trees" in the main house of Kyoto Daikaku-ji Temple, and they have colorful and decorative pictures on a golden base.
Japanese: 京都・大覚寺宸殿の障壁画『牡丹図』『紅白梅図』が代表作で、金地に色彩豊かで装飾的な画面を展開している。
English: Sansetsu KANO (1589/90 - 1651), the husband of Sanraku's daughter, created the screen paintings in Tenkyuin, Myoshin-ji Temple as well as some paintings of folding screens, which are still in existence.
Japanese: 山楽の娘婿で養子の狩野山雪（1589/90-1651）は、妙心寺天球院障壁画のほか、屏風絵などの現存作がある。
English: He had a distinctive painting style unique among painters of the Kanoha group, such as distinct shapes of trees and rocks, as well as the completeness of detail.
Japanese: 樹木、岩などの独特の形態、徹底した細部描写など、狩野派の絵師の中では異色の個性的な画風をもつ。
English: The essay on paintings made by Sansetsu and edited by his son Eino KANO (1631 - 1697) is entitled "Honchogashi," the first full-fledge painting history book by a Japanese.
Japanese: 山雪の残した画論を、子の狩野永納（1631-1697）がまとめたものが、日本人による本格的な絵画史としては最初のものとされる『本朝画史』である。
English: The Kobikicho family produced Michinobu KANO (Michinobu EISENIN (1730 - 1790)), Korenobu KANO (Korenobu YOSENIN (1753 - 1808)), Naganobu KANO (Naganobu ISENIN (1775 - 1828)) and Osanobu KANO (Osanobu SEISENIN (1786 - 1846)) during the late Edo period.
Japanese: 木挽町家からは、江戸時代後期に狩野典信（えいせんいんみちのぶ、1730-1790）、狩野惟信（ようせんいんこれのぶ、1753-1808）、狩野栄信（いせんいんながのぶ、1775-1828）、狩野養信（せいせんいんおさのぶ、1786-1846）などが出ている。
English: Osanobu SEISENIN led the creation of numerous screen paintings as a master of the Kanoha group during the reconstruction of the Nishinomaru and Honmaru palaces of Edo Castle, which had burned down in 1838 and again in 1844.
Japanese: 晴川院養信は、天保9年（1838年）と同15年（1844年）に相次いで焼失した江戸城の西の丸および本丸御殿の再建に際し、膨大な障壁画の制作を狩野派の棟梁として指揮した。
English: Although the paintings are no longer in existence, numerous designs are in the possession of the Tokyo National Museum.
Japanese: 障壁画そのものは現存しないが、膨大な下絵が東京国立博物館に所蔵されている。
English: Although the painters of the Kanoha group in the late Edo period are not well appreciated generally, there is a move to reappraise SEISENIN as the progress of the study after the late twentieth century recognizes that he was a painter with good technique who eagerly studied art from ancient paintings and on to the new painting movement at the end of the Edo period.
Japanese: 一般に、江戸時代後期の狩野派絵師に対する評価はあまり高くないが、20世紀後半以降の研究の進展により、晴川院は古典絵画から幕末の新しい絵画の動きまで熱心に研究した、高い技術をもった絵師であったことが認識されるようになり、再評価の動きがある。
English: Hogai KANO (born in Shimonoseki, 1828 - 1888), a leading figure of the Japanese art world during the early Meiji period, like Gaho HASHIMOTO (born in Kawagoe, 1835 - 1908), was a disciple of Tadanobu KANO (Tadanobu SHOSEN'IN 1823 - 1880), the next generation of SEISENIN.
Japanese: 晴川院の次代の狩野雅信（しょうせんいんただのぶ、1823-1880）の門下には、明治初期の日本画壇の重鎮となった狩野芳崖（下関出身、1828-1888）と橋本雅邦（川越出身、1835-1908）がいた。
English: The historical role of the Kanoha group as a professional painter group finished as its patron, the Edo shogunate, ended.
Japanese: 職業絵師集団としての狩野派は、パトロンであった江戸幕府の終焉とともにその歴史的役目を終えた。
English: Emperor SHIRAKAWA (7th July 1053 - 24th July 1129) was the 72nd Emperor.
Japanese: 白河天皇（しらかわてんのう、天喜元年6月19日(旧暦)（1053年7月7日）-大治4年7月7日(旧暦)（1129年7月24日））は、第72代の天皇。
English: SHIRAKAWA came to power on the 18th January 1073 and reigned until 5th anuary 1087.
Japanese: 在位は延久4年12月8日(旧暦)（1073年1月18日）-応徳3年11月26日(旧暦)（1087年1月5日）。
English: SHIRAKAWA was the first son of Emperor Go-Sanjo who had little maternal relationship with the Fujiwara Five Regent Houses, and his mother, Nyogo, FUJIWARA no Moshi/Shigeko was from Fujiwara Kaninryu, the daughter of Chunagon FUJIWARA no Kinnari, and the adopted daughter of Togu Daibu FUJIWARA no Yoshinobu.
Japanese: 藤原氏摂家と外戚関係の薄い後三条天皇の第一皇子として生まれ、母は藤原氏閑院流出身で中納言藤原公成の娘、春宮大夫藤原能信の養女である女御藤原茂子（?-1062）。
English: When he was young, he and his father were snubbed due to their background, but after his father was enthroned in 1068 (Jiryaku 4), he was proclaimed a Shinno (Imperial prince) and became Imperial Prince Sadahito.
Japanese: 幼い時は父子ともに冷遇されたが、治暦4年（1068年）、父帝即位とともに親王宣下を受け貞仁親王となる。
English: A Kanpaku was assigned, but SHIRAKAWA attempted to rule directly like his father had done, after his father, the retired Emperor, died of illness in 1070 (Jiryaku 5), and also attempted to regulate the Shoen(manor) system thereby trying to weaken the influence of the Regent/Kanpaku Houses.
Japanese: 関白を置いたが、翌5年、上皇の病没後も、父同様に親政を目指し、荘園整理などに力を入れ摂関家の権勢を弱めることに努める。
English: Go-Sanjo-in and Go-Sanjo-in's mother, Yomeimon-in, wished for SHIRAKAWA's younger half brother, Prince Sanehito (Heian period) and then Sanehito`s younger brother Prince Sukehito to succeed to the throne, and upon abdication to SHIRAKAWA, Prince Sanehito was decided to become Crown Prince.
Japanese: 後三条院とその生母である陽明門院は白河天皇の異母弟実仁親王(平安時代)更にその弟の輔仁親王に皇位を継がせる意志を持ち、譲位時に実仁親王を皇太弟と定めた。
English: SHIRAKARA repelled against this and later Prince Sanehiro died from illness in 1085 (Otoku 2).
Japanese: 白河天皇はこれに反発したが応徳2年（1085年）実仁親王は病没した。
English: As a result, in November, 1086 (Otoku 3), SHIRAKAWA proclaimed his own eight year old son, Prince Taruhito (73rd Emperor Horikawa) to be the Crown Prince instead of Prince Sukehito and SHIRAKAWA abdicated immediately.
Japanese: これにより、応徳3年11月（1086年）、白河天皇は輔仁親王ではなく、8歳のわが子の善仁親王（第73代堀河天皇）を皇太子に立て、即日譲位した。
English: Retired Emperor SHIRAKAWA, who became Daijo Tenno, acted as the guardian of the young Emperor, and ruled personally as Shirakawa-in, and this style of government became known as Insei system (cloistered style).
Japanese: 太上天皇となった白河上皇は、幼帝を後見するために白河院として自ら政務を執り、いわゆる院政が出現した。
English: Through such system, although the Sessho and Kampaku offices continued, they did not have actual power to rule the government.
Japanese: 引き続き摂政関白は置かれたものの、これにより名目上の存在に近いものとなる。
English: SHIRAKAWA continued to have exert power even after Emperor Horikawa turned twenty years old and he strengthened his despotic position by appointing aids from the Juryro and Samurai class.
Japanese: 白河上皇は堀河天皇の成人後も政権を返すことなく、受領階級や武家出身の近臣を用いて専制的な政治を行った。
English: SHIRAKAWA was a strict Buddhist and he became a Cloistered Emperor with posthumous Buddhist name of Yukan after the death of his daughter in 1096 (Kaho 3).
Japanese: 熱心に仏教を信じ、嘉保3年（1096年）には皇女の病没を機に出家し法名を融観とし、法皇となった。
English: SHIRAKAWA ordered the building of many temples and Buddhist statues including the Hossho-ji Temple, and he took advantage of getting finance from Juryo.
Japanese: また法勝寺等の多くの寺院や仏像をつくらせたが、その経済力は受領の経済力を活用した。
English: After Emperor Horikawa died, SHIRAKAWA ruled using a cloistered government for forty three years through three generations of young Emperors, until he died on 24th July 1129 (7th July Taiji 4), and he supported both his grandson 74th Emperor Toba and his great grandson 75th Emperor Sutoku.
Japanese: 堀河天皇崩御後は、その皇子で自らの孫である第74代鳥羽天皇、更にその子の第75代崇徳天皇と3代にわたって幼主を擁し、大治4年7月7日（1129年7月24日）、77歳で崩御するまで実に3代43年間院政を敷いた。
English: SHIRAKAWA is also known for many relationships with women and the rumor that Emperor Sutoku and TAIRA no Kiyomori may be SHIRAKAWA's illegitimate sons, was widely spread and believed at the time.
Japanese: また、女性関係の派手さでも知られており、崇徳天皇や平清盛が「白河法皇の御落胤」であるという噂が当時広く流布され信じられる原因ともなっている。
English: The Tsuigo of Shirakawa-in comes from the name of the residence from which he conducted his cloistered rule after abdicating the throne (sometimes Tsuigo is considered to be a type of pothumous name, however strictly speaking these are two different names).
Japanese: 譲位後の院政時の住居の名称により、白河院と追号された（追号も諡号の一種とする場合もあるが、厳密には諡号とは異なる）。
English: The Emperor was entombed in Jobodaijin no misasagi located in Takedajobodaiincho, Fushimi district, Kyoto City.
Japanese: 京都市伏見区竹田浄菩提院町の成菩提院陵（じょうぼだいいんのみささぎ）に葬られた。
English: Near this Jobodaiin, there is another poossible place that SHIRAKAWA was entombed in, which is regulated by the Imperial Household Agency as Ryobo sankouchi.
Japanese: なお、この陵墓の近所には、別に同陵の有力な比定候補地が存在し、ここは陵墓参考地として、宮内庁の管轄地となっている。
English: Emperor Shirakawa initially wished to be buried after his death, and often mentioned this to his people, but he suddenly ordered to be cremated, when he learnt that the body of FUJIWARA no Moromichi, who was buried, was in the danger of being humiliated by monk soldiers of Kofuku-ji Temple, who were known to be opposed to Moromichi when Moromichi was alive, and planned to attack and open Moromichi's grave.
Japanese: また、白河法皇は当初、自身の死後は土葬されることを望み、たびたび周囲の者にその意向を伝えていたが、同様に土葬された藤原師通が、生前に彼と対立していた興福寺の僧兵が報復としてその墓を暴き、遺体を辱めんと計画していたことを知り、自身も後世に同様な仕打ちを受けるのを嫌い、急遽火葬にするように命じたという。
English: It is said the Emperor's body was cremated in the Kita district, Kyoto City at a crematorium, monument of which still exists near the Kinkaku Elementary School.
Japanese: 法皇の遺体を荼毘に付したとされる火葬塚は京都市北区(京都市)の金閣小学校の近くに現存する。
English: Kei MIKAWA "Cloistered Emperor Shirakawa – The Emperor who started Cloistered Rule" published by Japan Broadcast Publishing Association in 2003. ISBN 4140019735
Japanese: 美川圭『白河法皇中世をひらいた帝王』（日本放送出版協会、2003年）ISBN4140019735
English: "The New Tale of the Heike (NHK Taiga Drama)" 1972 NHK Taiga Drama SHIRAKAWA played by Osamu TAKIZWA.
Japanese: 『新・平家物語(NHK大河ドラマ)』（1972年NHK大河ドラマ、演：滝沢修）
English: The family name comes from the fact that the Kujo Family lived in Kujo-den, which was located in Kyoto Kujo and said to have been built by FUJIWARA no Mototsune.
Japanese: 藤原基経創建といわれる京都九条にあった九条殿に住んだ事が家名の由来。
English: A descendant of FUJIWARA no Kanefusa (grand minister of state), the younger brother-uterine of Kanezane, he is sometimes included in the Kujo family but Kanefusa's family line failed at an early stage.
Japanese: また、兼実の同母弟藤原兼房(太政大臣)の子孫も「九条家」に含める事もあるが、こちらは早い段階で断絶している。
English: The children of Michiie KUJO, a grandchild of Kanezane--Norizane KUJO, Yoshizane KUJO and Sanetsune KUJO--became regents to the emperor and started the Kujo Family, Nijo Family and Ichijo Family, respectively, thus constituting Gosekke.
Japanese: 兼実の孫にあたる九条道家の子、九条教実、九条良実、九条実経が摂関となり、それぞれ九条家、二条家、一条家を立てて、五摂家を成立する。
English: Kanezane was critical of the Taira clan administration and Pope Goshirakawa; he became regent by recommendation of MINAMOTO no Yoritomo and then chief advisor to the Emperor, whereupon the Konoe and Kujo families took positions as regents to the emperor.
Japanese: 平氏政権、後白河法皇には批判的で、源頼朝の推挙で摂政、ついで関白となり、以後摂関職は近衛家と九条家から出る。
English: Kanezane's grandson, Michiie KUJO, gained power in the Imperial court since Michiie's son Yoritsune KUJO, and then Yoritsune's son Yoritsugu KUJO, became Sekke Shogun in the Kamakura Shogunate.
Japanese: 兼実の孫・九条道家は、実子である九条頼経とその息子九条頼嗣が相次いで鎌倉幕府の摂家将軍となった事により朝廷内で権勢を振るう。
English: The Kujo family's fiefdom continued to expand during medieval times. They held the lordship of Karoku, an area of land that yielded 2,000 koku of rice in the Edo era and 3,000 koku later on, until the Meiji era.
Japanese: 中世に九条家領はさらに広がり、江戸時代は家禄二千石を領し、のち三千石に加増され、明治に至る。
English: Setsuko, the fourth daughter of the duke Michitaka KUJO, who was Hisatada KUJO's firstborn, became empress to the Emperor Taisho (Empress Teimei).
Japanese: 九条尚忠の長子である公爵・九条道孝の四女・節子は大正天皇の皇后となった（貞明皇后）。
English: Michiie KUJO lost the legitimate heir, Norizane KUJO, and the second son, Yoshizane KUJO, was practically repudiated.
Japanese: 九条道家は嫡男・九条教実に先立たれ、次男・二条良実は事実上の勘当状態にあった。
English: Michiie gave Tadaie KUJO, Norizane's son and Michiie's grandchild, to be the legitimate heir, a shobunjo (a kind of will) to give instructions that documents such as diaries (which were the most important heritage for a court noble at the time) should be inherited by the Ichijo Family, but that the head of a family who controls the family temples such as Tofuku-ji Temple should first be inherited by Sanetsune ICHIJO, the third son of Michiie, then by Tadaie KUJO, a child of the eldest son of Michiie, and later by either descendant of the Kujo Family or the Ichijo Family who took the highest-ranking official position (head of a clan).
Japanese: そこで道家は嫡孫にあたる教実の子・九条忠家に対して処分状（遺言状みたいなもの）を渡し、当時の公家にとってもっとも重要な遺産であった日記などの文書類は一条家の相伝とするが、東福寺などの一族寺院の管理権を司る家長者は、まず最初は3男である一条実経が継ぎ、その次には長男の子九条忠家が継承して、以後は2人の子孫のうちでもっとも官職の高い人物（一門上首）が継ぐように指示を出した。
English: Thereafter, the predominance of the Ichijo Family was maintained for over 100 years, whereby the position of the Ichijo Family as legitimate blood of Kujo-ryu (Kujo family line) was well established.
Japanese: 以後、一条家の優位が100年以上にわたって続き、一条家の九条流における嫡流の地位が定着していた。