nntsuzu/KFTT huggingface dataset:
English: He dissolved kinpun (gold dust) in nikawa (glue) for the gold background and he drew in joint lines to make the viewers think gold foils had been used.
Japanese: 金粉を膠（にかわ）で溶いたもの）を使って描き、金箔の継ぎ目（箔足（はくあし））をわざわざ描き表したものだったのである。
English: Sotatsu TAWARAYA (date of birth and death unknown, active between 1596 and 1644) was a painter during the early Edo Period.
Japanese: 俵屋宗達（たわらやそうたつ、生没年不詳-慶長から寛永年間に活動）は、江戸時代初期の画家。
English: Despite his name recognition and the huge influence he left on his successors, much about his life history is unclear and his date of birth and death are still unknown.
Japanese: しかし、その知名度の高さと後世への影響の大きさに比べ、その伝記には不明な点が多く、生没年さえわかっていない。
English: Sotatsu was not just a fan painter, but also well known for his painting--so much so that the Imperial family requested his work.
Japanese: しかし、宗達は単なる扇絵職人ではなく、当時の皇室から作画の依頼があった。
English: He also painted pictures on the books written by top-ranking cultural figures of the time such as Mitsuhiro KARASUMARU and Koetsu HONAMI.
Japanese: また、当代一流の文化人であった烏丸光広や本阿弥光悦らの書巻に下絵を描いていたらしい。
English: There is no doubt that he was considered one of the top painters of the period--from that fact he was given the rank of Hokyo (rank or title originally given to men and women in the Buddhist order, which was later also granted to artists) in 1630, which, at the time, was extremely rare.
Japanese: また、少なくとも寛永7年（1630年）には町の絵師としては異例の法橋の位が与えられていたことがわかっており、当時から一流の絵師とみなされていたことは疑いない。
English: He is thought to have been involved in the Heike-nokyo, Sutras Dedication by the Taira Family, which was held in May of 1602.
Japanese: その他、慶長7年（1602年）5月に行われた平家納経の修復に関わったと見られている。
English: Sotatsu is considered to be an artist who was modeled by Korin and the founder of the Rin school of art; however, there was not a high general opinion of his work through to the Meiji Period (to July 1912), with Korin's paintings being considered to be of a higher grade.
Japanese: 光琳が私淑し、琳派の祖と言われるが、江戸時代後期から明治時代にかけては評価が低く、光琳の画の方が上だとみなされていた。
English: For this reason, many of his works, including his famous Matsushima-zu Byobu (a folding screen: Waves at Matsushima) were exported overseas.
Japanese: そのため、明治期に代表作の松島図屏風を始め、多くの作品が海外に流出した。
English: Other than his famous huge decorative screen painting Wind God and Thunder God, he has some works in water ink.
Japanese: 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。
English: 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.
Japanese: 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。
English: Sanraku KANO (1559- September 30, 1635 [August 19, 1635 by the old calendar]) was a painter of the Kano School from the Azuchi-Momoyama Period (from 1573) to the early Edo Period (from 1603)
Japanese: 狩野山楽（かのうさんらく、永禄2年（1559年）-寛永12年8月19日(旧暦)（1635年9月30日）は、安土桃山時代～江戸時代初期の狩野派の絵師。
English: After the Azai clan was overthrown by Nobunaga ODA, he served Hideyoshi TOYOTOMI and became an apprentice learning under Eitoku KANO, a famous painter of that time.
Japanese: 浅井氏が織田信長によって滅ぼされてからは豊臣秀吉に仕え、狩野永徳の弟子となる。
English: When Eitoku became ill during his work on the Tofuku-ji Hatto (Dharma Hall of Tofuku-ji Temple) ceiling painting, Sanraku took over and completed the work.
Japanese: 永徳が東福寺法堂天井画の制作中に病で倒れると、山楽が引き継いで完成させた。
English: At the time of the Siege of Osaka, Sanraku was under the protection of the Toyotomi family; however, because Osaka Castle had fallen into the hands of its enemy, he went into hiding at Shojo SHOKADO, priest and artist.
Japanese: 大坂の陣の頃には豊臣家の庇護を受け大坂にいたが、大坂城が落城したため松花堂昭乗の元に身を隠した。
English: Later, he returned to Kyoto under amnesty, and created the Shotoku Taishi Eden Hekiga (wall painting of Shotoku Taishi) at Shitenno-ji Temple at the request of Hidetada TOKUGAWA.
Japanese: その後、恩赦を受けて京都に戻り、徳川秀忠の依頼で四天王寺の聖徳太子絵伝壁画などを制作した。
English: While Tanyu KANO (Eitoku's grandson) and the Kano group relocated to Edo, the Sunraku and Sansetsu lines of the Kano School remained in Kyoto, coming to be called, therefore, the Kyo Kano (the Kyoto branch of the Kano School).
Japanese: 狩野探幽（永徳の孫）らが江戸に移って活動したのに対し、山楽・山雪の系統は京に留まったため、「京狩野」と称される。
English: Yusho KAIHO (1533- June 27, 1615 [June 2, 1615 by the lunar calendar]) was a painter of the Kano School from the Azuchi-Momoyama Period (from 1573) to the early Edo Period (from 1603).
Japanese: 海北友松（かいほうゆうしょう、天文(元号)2年（1533年）-元和(日本)元年6月2日(旧暦)（1615年6月27日））は、安土桃山時代～江戸時代初期の絵師。
English: Later he returned to secular life with the goal of restoring the Kaiho family; however, being acknowledged by Hideyoshi TOYOTOMI for his artistic talent, he left samurai life and dedicated his life to artwork.
Japanese: のち還俗し、海北家の再興をめざしたが、豊臣秀吉に画才を認められたことから武門を去り、晩年は画業に専念した。
English: His style was particularly influenced by the Ryokai (Liang Kai) of the Song and Yuan Dynasties of China, and his own style of painting combined strong sharp lines with making use of the Genpitsu technique, which reduced strokes.
Japanese: その画は宋元、特に梁楷の影響を受け、鋭く力のこもった描線と省略の多い画法（減筆法）によって独自の画境を開いた。
English: Tanyu KANO (March 7, 1602 [January 14, 1602 by the old calendar] - November 4, 1674 [October 7, 1674 by the old calendar]) was a painter of the Kano School during the Edo Period.
Japanese: 狩野探幽（かのうたんゆう、慶長7年1月14日(旧暦)（1602年3月7日）-延宝2年10月7日(旧暦)（1674年11月4日））は江戸時代の狩野派を代表する絵師である。
English: In 1612, he was presented to Ieyasu TOKUGAWA at Sunpu, and in 1617, he was appointed as an official painter to the Edo bakufu (Japanese feudal government headed by a shogun).
Japanese: 慶長17年（1612年）、駿府で徳川家康に謁見し、元和(日本)3年（1617年）、江戸幕府の御用絵師となった。
English: In 1621, he relocated to Edo and made his home outside the Kajibashi Gate at Edo Castle.
Japanese: 元和7年（1621年）には江戸城鍛冶橋門外に屋敷を得て、本拠を江戸に移した。
English: He was involved in the official painting project of Edo Castle, Nijo Castle and Nagoya Castle, as well as producing wall paintings in famous temples, including Daitoku-ji Temple and Myoshin-ji Temple.
Japanese: 江戸城、二条城、名古屋城などの公儀の絵画制作に携わり、大徳寺、妙心寺などの有力寺院の障壁画も制作した。
English: In 1623, he made his youngest brother, Yasunobu KANO, succeed Sadanobu Kano, the head of the Kano school, as his adopted son, and Tanyu took over the Kajibashi Kano family.
Japanese: 元和9年（1623年）、狩野派を嫡流・狩野貞信の養子として末弟・狩野安信に継がせて、自身は鍛冶橋狩野家を興した。
English: Tanyu had no male heir, so he adopted Masunobu, son of the sword smith, Ryujo GOTO.
Japanese: 探幽には嗣子となる男子がなかったため、刀剣金工家・後藤立乗の息子・狩野益信を養子にしていた。
English: Later, after he passed the age of 50, he had a son, Morimasa KANO, who took over the Kajibashi Family.
Japanese: その後、50歳を過ぎてから実子・狩野守政が生まれたため、守政が鍛冶橋家を継いだ。
English: However, the Kajibashi Kano Family, the direct descendants of Tanyu, were not able to produce a talented painter.
Japanese: しかし、探幽の直系である鍛冶橋狩野家から有能な絵師が輩出されることはなかった。
English: 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.
Japanese: 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。
English: He was a famous painter in the Edo Period; however, in the modern era, he unjustly received less attention.
Japanese: 江戸時代を代表する絵師であったが、近代に入って不当に低い評価を与えられていた。
English: He has produced many landscapes of Japan and reproduced outstanding pictures of China, old and new, in miniature with a large number of these still remaining.
Japanese: 自らが目にした日本や中国の古今の名画を縮図として模写しており、現在まで膨大な量が残っている。
English: The originals of some of his reproductions of old pictures were lost, making his reproductions valuable for Japanese Art History research.
Japanese: 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: Kenzan OGATA (1663 - July 22, 1743) was a painter and potter in the Edo Period.
Japanese: 尾形乾山（おがたけんざん、寛文3年（1663年）-寛保3年6月2日(旧暦)（1743年7月22日）は、江戸時代の絵師、陶工。
English: It is said that Kenzan had a reflective personality, and he was fond of reading as well as a recluse, in contrast to his brother Korin, who was a playboy and a showoff..
Japanese: 乾山の性格は、遊び人で派手好きだった兄・光琳と対照的に内省的で、書物を愛し隠遁を好んだという。
English: When he was 37 years old, he was presented a mountain villa at Narutaki, in the northwestern part of Kyoto (Sakyo Ward, Kyoto City) by Tsunahira NIJO, who had been favoring the Ogata brothers, and he built a kiln there.
Japanese: 乾山37歳の時、かねてより尾形兄弟に目をかけていた二条綱平が京の北西・鳴滝(京都市右京区)の山荘を与えた為ここに窯を開く。
English: In 1712, when he was 50 years old, he moved to Nijo Chojiya-cho (present Nijo-dori Street Teramachi Nishi-iru Kitagawa) in Kyoto City, and created many artistic pieces.
Japanese: 正徳2年(1712)50歳のとき京都市内の二条丁子屋町（現在の二条通寺町西入北側）に移住し、多くの作品を手がけた。
English: Later, in 1731, when he was 69 years old, he moved to Iriya in the city of Edo, and died at the age of 81.
Japanese: のち69歳の享保16年（1731年）、江戸・入谷に移り住み、81歳で没した。
English: Kinginai-e Shojumon Futamono (Covered ceramic container with pine tree illustration in gold, silver and indigo blue) (Idemitsu Museum of Art: important cultural property)
Japanese: 金銀藍絵松樹文蓋物（きんぎんあいえ・しょうじゅもん・ふたもの）（出光美術館、重要文化財）
English: Sabiaikin-e Egawari-sara (a set of dishes with a different illustration in rusty red, indigo blue and gold) (Nezu Museum: important cultural property)
Japanese: 銹藍金絵絵替皿（さびあいきんえ・えがわりさら）（根津美術館、重要文化財）
English: Goshun (April 28, 1752 - September 4, 1811) was a painter in the Edo Period.
Japanese: 呉春（ごしゅん、宝暦2年3月15日(旧暦)（1752年4月28日）-文化(元号)8年7月17日(旧暦)（1811年9月4日））は、江戸時代の絵師。
English: After his wife's death, from 1781 for a while, he stayed in Ikeda City, Osaka Prefecture, counting on his patron who was a merchant, probably in order to heal his grief.
Japanese: 妻を失った後、傷心を癒す為か、パトロンであった商人を頼り、天明元年（1781年）から暫く、大阪府池田市に滞在。
English: He started to call himself Goshun (呉春) after the old name of the place where he was staying, 'Kureha no Sato' (呉服の里). (Because of this, a locally brewed sake called 'Goshun' still exists in Ikeda City.)
Japanese: この地の古名である「呉服（くれは）の里」に因み、呉春を名乗るようになる（この縁で、池田市には、今でも「呉春」と言う名の地酒がある）。
English: From about this time, he became closer to Okyo Maruyama, whose picture had a contrasting style to that of his master Buson, and he broke new ground in his paintings, by changing his style to a more realistic one while conserving a taste for literati painting.
Japanese: この頃から、師匠の蕪村とは対照的な画風である円山応挙に接近、文人画の味わいを残しつつ、写実的な作風へと転進し、画境を開く。
English: These two schools, called collectively the Maruyama-Shijo School, are the root of the Kyoto Japanese art world in modern and contemporary times.
Japanese: 両者合わせて円山・四条派と呼称され、近現代にまで連なる京都日本画壇の遠祖である。
English: Mokubei AOKI (1767- July 2, 1833) was a painter and Kyo ware potter during the Edo Period.
Japanese: 青木木米（あおきもくべい、明和4年（1767年）-天保4年5月15日(旧暦)（1833年7月2日））は江戸時代の絵師、京焼の陶工である。
English: He studied calligraphy under Fuyo KO at a young age, showing great talent; however, when he found pottery, he opened a studio in Awataguchi, Kyoto at the age of 30 and won fame for his pottery.
Japanese: 若くして高芙蓉に書を学び頭角を現すが、後に作陶に目覚めると30歳を境に京都・粟田口に釜を開き評判を得る。
English: Five years later, he was invited by the Maeda Family of the Kaga clan, and he made efforts to revive Kaga Kutani ware.
Japanese: 5年後には加賀藩前田家の招聘を受け、絶えていた加賀九谷焼の再生に尽力した。
English: Mokubei was able to judge the temperature of the kiln by the crackling sound of the fire.
Japanese: 木米は釜の温度を釜の中の燃える火から発せられるパチパチという音で判断していた。
English: Though Mokubei's ears were always red and swollen, he refused to change his method.
Japanese: そのため木米の耳はいつも赤く腫上がったがその手法を変えることはしなかった。
English: Uji Choton-zu (Morning view of the Uji River) (Tokyo National Museum and private collection, Important Cultural Property)
Japanese: 兎道朝暾図（うじちょうとんず）（東京国立博物館蔵および個人蔵、重要文化財）
English: Koetsu HONAMI (1558 - February 27, 1637) was a calligrapher and artist during the early Edo Period.
Japanese: 本阿弥光悦（ほんあみこうえつ、永禄元年(1558年)-寛永14年2月3日(旧暦)(1637年2月27日)）は、江戸時代初期の書家、芸術家。
English: He was born into the Honami Family in Kyoto, with the family business of sword appraisal, polishing and cleaning.
Japanese: 日本刀の鑑定、日本刀研磨研磨の工程、浄拭（ぬぐい）を家業とする京都の本阿弥家に生まれる。
English: However, he is better known as one of the three greatest calligraphers of the Kanei Era (Kanei no Sanpitsu) and as an artist of many talents involving himself in pottery, Shitsugei lacquer art, the tea ceremony and literature.
Japanese: しかし、今日ではむしろ「三筆寛永の三筆」の一人に位置づけられる書家として、また、陶芸、漆芸、出版、茶道などにも携わったマルチアーティストとしてその名を残す。
English: In 1615, Koetsu was given land in Takagamine by Ieyasu TOKUGAWA and moved into the area along with followers of the Hokke sect (Nichiren sect), including the Honami family, townspeople and craftsmen.
Japanese: 元和(日本)元年(1615年)、光悦は、徳川家康から鷹ヶ峯の地を拝領し、本阿弥一族や町衆、職人などの法華宗徒仲間を率いて移住した。
English: As he respected dynastic culture and was under the patronage of the Emperor Gomizu-no-o, Ieyasu TOKUGAWA's real intention may have been to relocate Koetsu to a place as far away from Kyoto as possible because of his close ties with the Imperial Court.
Japanese: 王朝文化を尊重し、後水尾天皇の庇護の下、朝廷ともつながりの深かった光悦を都から遠ざけようというのが、家康の真の意図だったとも言われる。
English: Along with Sotatsu TAWARAYA and Korin OGATA, and as the founder of the Rin school of painting, his influence over future Japanese culture was significant
Japanese: 俵屋宗達、尾形光琳とともに、琳派の創始者として、光悦が後世の日本文化に与えた影響は大きい。
English: Regarding his lacquer ware, it is unknown whether he actually produced the pieces himself or merely oversaw the production.
Japanese: とくに漆工品などは、光悦本人がどこまで制作に制作に関与したかは定かでなく、アート・プロデューサーとしての役割が大きかったものと思われる。
English: Jakuchu ITO (March 1, 1716 - October 27, 1800) was a painter in Kyoto during the Edo period.
Japanese: 伊藤若冲（いとうじゃくちゅう、正徳(日本)6年2月8日(旧暦)（1716年3月1日）-寛政12年9月10日(旧暦)（1800年10月27日））は、江戸時代の京の絵師。
English: He ranks with Shohaku SOGA and Rosetsu NAGASAWA as an 'eccentric painter' who skillfully fused reality and imagination.
Japanese: 写実と想像を巧みに融合させた「奇想の画家」として曾我蕭白、長沢芦雪と並び称せられる。
English: He was born in 1716 as the heir to the wholesale greengrocer Musugen in Nishiki-koji, Kyoto.
Japanese: 正徳6年（1716年）、京都・錦小路の青物問屋「枡源」の跡取り息子として生まれる。
English: At the age of 23, when his father died, he took his father's name Genzaemon MASUYA (ITO) and became the fourth generation owner of the family business.
Japanese: 23歳のとき、父・源左衛門の死去に伴い、4代目枡屋（伊藤）源左衛門を襲名する。
English: His pseudonym, Jakuchu, was a Koji-go, a name given to a Buddhist layman by a Zen monk, Daiten Kenjo of Shokoku-ji Temple.
Japanese: 「若冲」の号は、禅の師であった相国寺の禅僧・大典顕常から与えられた居士号である（「居士」は、在家の仏教信者のこと）。
English: According to the historical record left by Daiten "Tokei Wagaenoki," Jakuchu was interested only in painting and showed no interest in public affairs.
Japanese: 大典の書き遺した記録『藤景和画記』によると、若冲という人物は絵を描くこと以外、世間の雑事には全く興味を示さなかったという。
English: In 1755, when he was 40 years old, he surrendered the family business to his younger brother and retired (at the time 40 years old was considered elderly) to a life of painting.
Japanese: 40歳の宝暦5年（1755年）には、家督をすぐ下の弟に譲ってはやばやと隠居し（当時、40歳は「初老」であった）、念願の作画三昧の日々に入った。
English: The 'Zoku Shoka Jinbutsushi' by Bunzo AOYAGI tells that Jakuchu studied under Shunboku OOKA, a painter of the Kano school. Jakuchu's tombstone has an inscription by Daiten Kenjo that says he studied at the Kano school; however, there is no historical record of him receiving training there.
Japanese: 「続書家人物志」（青柳文蔵）には、若冲が狩野派の画家大岡春卜に師事したとの記述があり、大典顕常による若冲の墓碑銘にも狩野派に学んだとあるが、誰かに師事したことを示す史料はない。
English: It is difficult to see the Kano school's influence in Jakuchu's works; however, the similarity between Jakuchu's designs and Kano school's picture books has been suggested.
Japanese: 現存作品の作風から狩野派の影響を探すのは困難だが、図様について、狩野派の絵本との類似点が指摘されている。
English: (Shuboku OOKA is a person who contributed to the spread of Kano school designs and methods through the publication of picture books created by the Kano school.)
Japanese: （なお、大岡春卜は狩野派の絵本の出版を通して、その図像・画法の普及に貢献した人物である。）
English: The epitaph on Jakuchu's tombstone notes that after Jakuchu learned the Kano school methods, he left to study Sogen-ga (Chinese Song and Yuan painting, with vividly painted flowers and birds), with a desire to reproduce them.
Japanese: 前記の墓碑銘によると、若冲は狩野派の画法に通じた後その画法を捨て、宋元画（濃彩の花鳥画）に学び、模写に励んだとしている。
English: After he tired of reproducing Sogen-ga, he moved on to sketches of real life subjects.
Japanese: さらに、模写に厭いた若冲はその画法をも捨て、実物写生に移行したと伝える。
English: His transition to sketches was affected by the heightened momentum for positivism, as was seen in the trend for Honzogaku (Chinese botany).
Japanese: 実物写生への移行は、当時の本草学の流行にみられる実証主義的気運の高まりの影響も受けていると言われる。
English: It is also said that Daiten Kenjo learned about the realistic sketches of Sogen-ga through literature, which he told Jakuchu.
Japanese: また、大典顕常が読書を通じて宋代の画家の写生の実践を知り、それを若冲に伝えたとも言われる。
English: His works were created with his unique technique of capturing and expressing the colors and shapes of nature as seen through his eyes.
Japanese: 若冲独特の感覚で捉えられた色彩･形態が「写生された物」を通して展開されている。
English: His famous work 'Doshoku Sai-e' (Pictures of the Colorful Realm of Living Beings) is a gorgeous collection of 30 paintings of fowls, a phoenix, plants and fish using a diverse arabesque of colors and shapes.
Japanese: 代表作の「動植綵絵」（どうしょくさいえ、動植物を描いた彩色画の意）30幅は、鶏、鳳凰、草花、魚介類などが、さまざまな色彩と形態のアラベスクを織り成す、華麗な作品である。
English: Based on detailed sketching, they also project an unreal atmosphere similar to modern day Surrealism.
Japanese: 綿密な写生に基づきながら、その画面にはどこか近代のシュルレアリスムにも似通う幻想的な雰囲気が漂う。
English: Doshoku Sai-e' was donated to Shokoku-ji Temple, which later passed to the Imperial family and currently is maintained by the Imperial Household Agency.
Japanese: 「動植綵絵」は、若冲が相国寺に寄進したものであるが、のち皇室御物となり、現在は宮内庁が管理している。
English: Until recently Jakuchu was known only to few, but with the publication of "Kiso no Keifu" by Nobuo TSUJI in 1970, his work entered the limelight with particularly praise coming in the latter half of the 1990s for his unique technology and construction, which dramatically increased his name recognition and popularity.
Japanese: 若冲はつい最近まで知る人ぞ知る画家であったが、1970年に辻惟雄の『奇想の系譜』が出版されて以来注目を浴び、特に1990年代後半以降その超絶した技巧や奇抜な構成が再評価され、飛躍的にその知名度と人気を上げている。
English: An exhibition marking the 200th anniversary of Jakuchu's death at the Kyoto National Museum in 2000 triggered a booming interest in him and his work.
Japanese: 2000年に京都国立博物館にて「没後200年」を記念して行われた展覧会により、爆発的ブームが起こった。
English: In 2006, Jakuchu ITO exhibitions were held in various areas of Japan (Aichi Prefectural Museum of Art, Okura Shukokan Museum, Miho Museum, Sen-oku Hakuko Kan [Sumitomo Collection, Kyoto], Yamaguchi Prefectural Hagi Uragami Museum, Tokyo National Museum, The National Museum of Modern Art, Kyoto, Kyushu National Museum, The Museum of the Imperial Collections, Sannomaru Shozokan).
Japanese: 2006年は、伊藤若冲に関する展覧会が各地で開催された（愛知県美術館、大倉集古館、MIHOMUSEUM、泉屋博古館（京都）、山口県立萩美術館・浦上記念館、東京国立博物館、京都国立近代美術館、九州国立博物館、愛知県美術館、皇居・三の丸尚蔵館）
English: Shohaku SOGA (1730 - January 30, 1781) was a painter in the Edo period.
Japanese: 曾我蕭白（そがしょうはく、享保15年（1730年）-天明元年1月7日(旧暦)（1781年1月30日））は、江戸時代の絵師。
English: Since many of his works remain in the Ise region, it used to be thought that Shohaku was from Ise, but recent research has revealed that he was born to a Kyoto merchant with a surname of Miura, who owned a store named 'Tanbaya.'
Japanese: 伊勢地方に多くの作品が残ることから、かつては伊勢の出身とされたこともあったが、近年の研究の進展により、「丹波屋」と号する京都に商人の子として生まれ、本姓を三浦と称したことなどが明らかになっている。
English: The grave of Shohaku and his family and his major work "Kanzan Jittoku-zu" (picture of the monks Kanzan and Jittoku) is located at Kosho-ji Temple, in Kamigyo Ward, Kyoto City.
Japanese: 京都市上京区の興聖寺には、蕭白の代表作『寒山拾得（かんざんじっとく）図』が残るほか、蕭白一族の墓もある。
English: It has long been said that Shohaku studied under Keiho TAKADA but since there are no records of Shohaku in the student list in "Keiho Gafu" or any other substantiating documents, some argue that he did not.
Japanese: 古くから、高田敬輔に師事したとの説があるが、『敬輔画譜』にある門人録に記載がないなど、証明する文献が無いことから、直接的な弟子であったかどうかについては否定的な意見もある。
English: According to the leading expert on Keiho TAKADA, Ms. Yumiko KUNIGA (Chief Curator of The Museum of Modern Art, Shiga), however, Shohaku was using a technique characteristic of TAKADA Keiho and his students and thus must at least have studied the painting style of Keiho TAKADA.
Japanese: ただ、高田敬輔とその門人たちに特徴的な技法を用いていることなどから、少なくとも高田敬輔の画風を学んだことは間違いないだろうと、高田敬輔研究の第一人者である國賀由美子氏（滋賀県立近代美術館主任学芸員）は述べている。
English: Shohaku claimed to follow the painting style of Jasoku SOGA, a painter from the Muromachi period, but the Soga school painting style had ceased to exist by that time.
Japanese: 自らは室町時代の画家曾我蛇足の画系に属するとしているが、その頃、曾我派の画系は絶えている。
English: Only few of Shohaku's works can be dated but it is known that he was stayed in Ise region on two occasions; around when he was 29 and 35 years of age.
Japanese: 作品も制作時期のわかるものはきわめて少ないが、29歳ごろと35歳ごろの2回、伊勢地方に滞在したことがわかっている。
English: His major works such as "Gunsen-zu" (Immortals) and "Kyu Nagashima-ke Fusuma-e" (sliding partitions formerly at the Nagashima household) are thought to have been painted during his second stay in Ise.
Japanese: 『群仙図』、『旧永島家襖絵』などの代表作は2回目の伊勢滞在時に描かれたものと考えられている。
English: Shohaku is characterized by his ability to paint details with meticulous and painstaking precision and to capture contrasting movement in an accurate yet daring way.
Japanese: 蕭白の特徴は、部分の細密で精確な描写能力と対象の動性の的確かつ大胆な把握にある。
English: The bold sense of space in his compositions and the vivid colors, which he created independently after studying the properties of various pigments, together generate a powerful volatity that both attracts and repels.
Japanese: 構図における大胆な空間把握と、顔料の性質を熟知した上になりたつさまざまな独創に支えられた鮮やかな彩色は、相共に強烈な不安定さを生み出し、見るものを魅了しまたおののかせる。
English: Paintings by Shohaku, who was already referred to as a 'maverick' or 'mad' painter in the art history of the Edo period, dealt with traditional subjects such as hermits, Karajishi (Chinese lions) and Chinese fables, but the way they were presented was unconventional and daring, with ugly and comical subjects that jangle the nerves and cannot fail to make strong impression.
Japanese: 江戸時代の画史においてすでに「異端」「狂気」の画家と位置付けられていた蕭白の絵は、仙人、唐獅子、中国の故事など伝統的な画題を扱いながら、その画題を醜悪、剽軽に描き出すなど表現は型破りで破天荒なものであり、見る者の神経を逆撫でするような強い印象を与えずにはおかない。
English: From the Meiji period onwards, Shohaku was not highly rated but he was featured in series of articles called 'Kiso no Keifu' (Lineage of Bizarre) run in "Bijutsu Techo" in the 1970's and this triggered renewed public interest in Shohaku as an individualistic painter in the Edo period.
Japanese: 明治時代以降は評価が低かったが、1970年頃『美術手帖』誌の連載「奇想の系譜」で取り上げらたこと等がきっかけとなり、江戸時代絵画史に異彩を放つ個性的な画家として近年再注目されている。
English: Some of the works of Tadanori YOKOO were painted based on those of Shohaku.
Japanese: また、横尾忠則の作品には蕭白の作品を下敷きにして描かれたものもある。
English: Tadanori YOKOO painted "Kesareta Kioku" (Erased memories) after seeing "Gunsen-zu" and "Niga Byakudo-zu" (White path to paradise across two rivers) after being inspired by "Sessen Doji-zu" (Boy in snowy mountains, which depicts Buddha Shakamuni in austerity in the Himalayas).
Japanese: 『群仙図』から触発されて『消された記憶』、『雪山童子図』からは『二河白道図』などが制作されている。
English: Yoriyuki HOSOKAWA (1329 - April 2, 1392) was a warrior, politician and Bakufu Kanrei (shogun deputy) between the Northern and Southern Courts period and the Muromachi period.
Japanese: 細川頼之（ほそかわよりゆき、元徳元年（1329年）-元中9年/明徳3年3月2日(旧暦)（1392年3月25日））は南北朝時代(日本)から室町時代の武将、政治家、幕府管領である。
English: Being a warrior belonging to the Hosokawa clan under the Ashikaga clan, he fought against the Southern Court in Shikoku region such as Awa, Sanuki and Iyo and was on the bakufu (Japanese feudal government headed by a shogun) side during the Kanno Disturbance.
Japanese: 足利氏の一門である細川氏の武将として、阿波、讃岐、伊予など四国地方における南朝(日本)方と戦い、観応の擾乱では幕府方に属す。
English: After being assigned as Kanrei, he led the shogunate government implementing Hanzeirei (order allowing military governors, or Shugo, to collect half of the taxes from manors and demesnes as military fund) and making peace with the Southern Court while assisting the youthful Yoshimitsu ASHIKAGA.
Japanese: 管領への就任で幕政を指導し、また幼少の足利義満を補佐して、半済令の施行や南朝との和睦などを行う。
English: He was ousted in Koryaku Coup but was later absolved and returned to the shogunate government.
Japanese: 1379年の康暦の政変で失脚するが、その後は赦免されて幕政に復帰する。
English: Yoriyuki HOSOKAWA's wife was a daughter of Hose JIMYOIN (持明院保世) and became the wet nurse of the third Seii Taishogun (literally, "great general who subdues the barbarians") of Muromachi bakufu Yoshimitsu ASHIKAGA, and so it is thought that his own child, who would have been the same age as Yoshimitsu, died in early.
Japanese: 妻は持明院保世の娘で、室町幕府3代征夷大将軍足利義満の乳母となっているため、義満と同年代の実子が早世していると考えられている。