nntsuzu/KFTT huggingface dataset:
English: This period started when MINAMOTO no Yoritomo established his bakufu in Kamakura, and corresponded to the eras of Sung (Dynasty) and Yuan (Dynasty) in China.
Japanese: 源頼朝が鎌倉に幕府を開いてからの時代で、中国では宋(王朝)、元(王朝)の時代に当たる。
English: In addition, more importance was placed on practicability rather than calligraphic beauty of characters, leading to the mixed use of Chinese characters and kana characters that became ordinary.
Japanese: また、文字の美の追求から実用性を重視する変革がなされ漢字かな交じり文が一般化された時代でもある。
English: Zen style calligraphy, the calligraphic style in Song, indicates the calligraphic works of Su Shi, Huang Tingjian, Mi Fu, and Sokushi CHO that became popular among Zen priests in China, and with free and strong natures freed from codes and traditions in the Jin and Tang eras, the style was totally different from that of Wang Xizhi, employed during the Nara period and later, which used soft lines.
Japanese: 禅様とは宋代の書風で、中国の禅僧の間に流行した蘇軾、黄庭堅、米フツ、張即之などの書を指し、晋唐の規範や伝統から解放された自由剛健なもので、奈良朝以来行われた線の軟らかい王羲之風のものとは全く趣きを異にするものである。
English: 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.
Japanese: 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。
English: Various Japanese styles, such as the sesonji style, the Hosshoji style that was branched off by FUJIWARA no Tadamichi from the sesonji style towards the end of the Heian period, the Toshinari style by FUJIWARA no Toshinari, and the Teika style by FUJIWARA no Teika, were established, and in particular, the Hosshoji style became quite popular entering this period.
Japanese: 和様の諸流派、すなわち世尊寺流、世尊寺流から平安時代末期より藤原忠通によって分かれた法性寺流、藤原俊成による俊成流、藤原定家による定家様などの書風が確立し、特に法性寺流がこの時代に入り大流行した。
English: The calligraphic styles used by the imperial family during the Kamakura and later were called the shinkan styles.
Japanese: また、鎌倉時代以降の天皇家の書風を後世、宸翰様（しんかんよう）と呼んでいる。
English: The shinkan styles include the Fushimi-in style by Emperor Fushimi, the Chokuhitsu style by Emperor Goenyu, and the Gokashiwabara style by Emperor Gokashiwabara.
Japanese: 宸翰様には伏見天皇による伏見院流、後円融天皇らによる勅筆流、後柏原天皇による後柏原院流などがある。
English: Entering the Azuchi-Momoyama period, the mood of admiring and viewing kohitsu (old calligraphic works) appeared, slightly animating the calligraphic world.
Japanese: 安土桃山時代に入り古筆を愛玩賞味する風潮が興り、わずかに生気を保った。
English: In the era from the Kamakura to this period, Japanese styles founded by the san-pitsu calligraphers and the san-seki calligraphers appeared.
Japanese: 鎌倉時代からこの時代にかけて、三筆、三跡を祖とする和様が現れている。
English: However, of these, the most influential ones were the four styles of the sesonji style, the Hoshoji style, the Sonen style founded by Cloistered Imperial Prince Sonen, and the Jimyoin style by Motoharu JIMYOIN, each of which was a branch from the style by Yukinari.
Japanese: しかしながら、最も勢力があったのは、世尊寺流、法性寺流、尊円法親王を祖とする尊円流、持明院基春による持明院流の4派であり、何れも行成の流れをくむものである。
English: Following the shinkan style by Emperor Fushimi and the succeeding emperors, emperors during this period produced splendid calligraphic works as well.
Japanese: また、鎌倉時代の伏見天皇ら諸天皇による宸翰様の後を受けて、この時代の諸天皇も華麗な筆跡を遺している。
English: The Shoren-in style by Cloistered Imperial Prince Sonen, the sixth prince of Emperor Fushimi, was called the Oie style later, and became the central calligraphic style in the calligraphy in Japan until the Edo period.
Japanese: 尊円法親王は伏見天皇の第6皇子で、その青蓮院流は後に御家流と呼ばれ、江戸時代まで日本の書道の中心的書風となった。
English: Calligraphic works by Zen priests during the Kamakura period were written in Sung style, but were affected by Mofu CHO in Yuan during this period.
Japanese: 鎌倉時代の禅僧の書は宋風であったが、この時代は元の趙孟フの影響を受けている。
English: As Gozan Bungaku (literally, five mountain literature) became prosperous, the Gozan style, in which Japanese tastes were added to the calligraphic style by Zen priests, became popular.
Japanese: また五山文学が盛行するとその禅僧の書風に日本趣向が加味された五山様が流行した。
English: 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.
Japanese: 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。
English: Each piece of kohitsu constituted a scroll or a book, but became to be divided into parts, with each part owned by someone, and each of these parts became to be called kohitsu-gire ("gire" meaning "being cut").
Japanese: もともと古筆は巻物や帖であったが、それを切断して収蔵するようになり、それぞれを古筆切（こひつぎれ）と呼ぶようになった。
English: The person who checked whether these pieces of kohitsu were genuine or not was called a kohitsu-kanteika (a connoisseur of kohitsu), and Ryosa KOHITSU was famous as such a connoisseur at that time.
Japanese: これらの古筆の真贋を鑑定する人を古筆鑑定家と称し、当時、古筆了佐は有名である。
English: The Japanese style calligraphic works in the time when the style was completed, including the calligraphic works of the sanseki calligraphers in the middle era of the Heian period and kohitsu, are particularly called jodai (ancient) style (calligraphic works), for differentiating these from calligraphic works in Japanese styles during the Kamakura period or later.
Japanese: また、平安時代中期の三跡の書や古筆など完成期の和様書を指して特に上代様と呼び、鎌倉時代以降の書流による和様書と区別している。
English: This is the period when Ieyasu TOKUGAWA became Seitaishogun (commander-in-chief of the expeditionary force against the barbarians, great, unifying leader), and corresponded to the era of Qing in China.
Japanese: 徳川家康が征夷大将軍になってからの時代で、中国では清の時代に当たる。
English: In this period, an innovative air was brought to the calligraphic world as well due to the educational policy of the Edo bakufu (Japanese feudal government headed by a shogun), drastically changing Chinese and Japanese calligraphic styles.
Japanese: この時代は江戸幕府の文教政策によって書道界にも革新の風が起こり、唐様・和様に大きな変化があった。
English: 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.
Japanese: 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。
English: As the import of Chinese books and Chinese copybooks printed from the works of old masters of calligraphy was extremely restricted because of national isolation policy from 1633, calligraphic works by these priests in the Obaku school were accepted mostly by Confucian scholars, men of literature, and priests.
Japanese: 寛永10年（1633年）の鎖国によって中国の書籍・法帖などの輸入がきわめて制限されている中、この黄檗僧たちの書は主として儒学者・文人・僧などに受け入れられた。
English: Of the priests in the Obaku school, the three of Ingen Ryuki (Yinyuan Longqi), Muan Xingtao, and Jifei Ruyi were especially good at calligraphy and were called san-pitsu (three great calligraphers) of the Obaku school.
Japanese: 黄檗僧の中で隠元隆き、木庵性トウ、即非如一の3人は特に能書で黄檗の三筆と称された。
English: The Chinese calligraphic style for bokuseki was initiated into Setsuzan KITAJIMA, and Setsuzan acted actively as the founder of the Chinese calligraphic style.
Japanese: 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。
English: This calligraphic style was transferred to Kotaku HOSOI, his follower in Edo, establishing the popularity of the Chinese calligraphic style.
Japanese: その書法は江戸の門人細井広沢に伝えられ、唐様の流行を確固たるものにした。
English: Kotaku wrote many books, including "Kanga Hyakutan," becoming the motive force promoting the Chinese calligraphic style.
Japanese: そして広沢は『観鵞百譚』など多くの著書を残し、唐様推進の原動力となった。
English: After that, Jakugon and IKE no Taiga succeeded the style, and towards the end of the Edo period, it was handed down to Beian ICHIKAWA, Ryoko MAKI, and Suo NUKINA who were called the san-pitsu of bakumatsu (the three great calligraphers towards the end of the Edo period).
Japanese: その後、寂厳・池大雅らが継承し、江戸時代末期には幕末の三筆と呼ばれる市河米庵・巻菱湖・貫名菘翁の3人へと展開していった。
English: These three had many followers among samurai and Confucians, and in particular, it is said that Beian ICHIKAWA had 5,000 followers including feudal lords.
Japanese: この3人は武家や儒者に信奉者が多く、特に江戸の市河米庵は諸大名にも門弟があり、その数5000人ともいわれた。
English: As calligraphic methods were explored more deeply around in the middle era of the Edo period, use of the Jin-Tang style instead of the Yuan-Ming style was advocated.
Japanese: 江戸時代中期ごろから書法の研究が進み、これまでの元・明の書風から晋唐の書風を提唱する者があらわれた。
English: The lines of these two styles remained even during the Meiji period, affecting many calligraphers during the period.
Japanese: この2派の流れは明治時代になってからも続き、明治時代の多くの書家に影響を与えていく。
English: The calligraphic works by san-pitsu in the Kanei era (1624 - 1644) (Nobutada KONOE, Koetsu HONAMI, and Shojo SHOKADO) during the early Edo period were based on the sonen style handed down from the previous period.
Japanese: 江戸時代初期を代表する寛永の三筆（近衛信尹・本阿弥光悦・松花堂昭乗）の書は、前代から継承された尊円流を土台としていた。
English: During the Heian period and later, calligraphy was a practice of people only in the upper society, but during this period, calligraphy became popular among common people as well.
Japanese: 平安時代以来の書道は上流社会の人々の間で行われていたが、この時代の書道は一般庶民にまで普及した。
English: This is because educational institutions for common people called terakoya (temple schools) became established throughout the nation and writing characters was a central course of education there.
Japanese: これは寺子屋という一般庶民の教育機関が全国に設けられ、その教育の中心が手習いであったことによる。
English: Chinese calligraphic styles were popular among specific spheres, such as Confucians and scholars liking the tastes of men of literature, while Japanese calligraphic styles became popular in wider spheres, including kuge, samurai, and common people.
Japanese: 唐様が儒者や文人趣味を好む学者など特定の範囲で広まったのに対し、和様は公家・武家・庶民を含めた広範囲に広まりった。
English: Typical Japanese style calligraphers in the middle era of the Edo period included Masayoshi MORI, Yuhitsu (amanuensis) of the bakufu, Iehiro KONOE who endeavored to restore the jodai style, Chikage KATO who founded the Chikage style, and IKE no Taiga.
Japanese: 江戸時代中期の和様の代表は、幕府右筆の森尹祥、上代様の復興に努めた近衛家熙、千蔭流を成した加藤千蔭、池大雅などがいる。
English: Towards the end of the Edo period, there was the prejudice of "The calligraphic works not written in the sonen style could not be called calligraphic works actually."
Japanese: 江戸時代末期、「尊円流でなければ書にして書にあらず」という偏見があった。
English: 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.
Japanese: 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。
English: In the government during the Meiji period after the bakufu was destroyed and became extinct, many persons who wrote in Chinese styles in the bakufu period became officers at the document section of Daijokan (Grand Council of State), the center of politics.
Japanese: 幕府が倒れて明治政府になり、政治の中心である太政官の文書課には、幕府時代の唐様を書く人々が多く職を奉じるようになった。
English: They included Ichiroku IWAYA, Meikaku KUSAKABE, Shukin NAGAMATSU, Kaio HISHIDA, and Taimei KITAGAWA.
Japanese: 巌谷一六・日下部鳴鶴・長松秋琴・菱田海鴎・北川泰明などがそれであった。
English: Then documents in the Imperial court and government offices were written in Chinese styles, leading to a big change in calligraphy in Japan.
Japanese: これによって宮中府中の文書は唐様で執筆されるようなり、日本の書風に一大変遷を来たした原因となった。
English: At that time, Chinese styles were led by the new style of the Kaiya style in western Japan, and by those of the Ryoko style and the Beian style in eastern Japan.
Japanese: 当時の唐様といえば、西では海屋流、東では菱湖流・米庵流などが新派の頭目であった。
English: Yang Shoujing who came to Japan in 1880 started calligraphy in the six dynasties, in Japan.
Japanese: 明治13年（1880年）に来朝した楊守敬により日本における六朝派の書風が始まる。
English: Gochiku, who studied abroad, and Yang Shoujing, who visited Japan, made calligraphy in the six dynasties popular, replacing the new Chinese styles that ruined the Oie style during the first year after the Meiji Restoration.
Japanese: この梧竹の留学と楊守敬の来朝によって、明治維新の初年、御家流を滅ぼした唐様の新派に代わって六朝書道が流行するに至ったのである。
English: During the period from that time to the end of the Meiji period, roughly no changes were made in calligraphy of Japan.
Japanese: それ以来、明治の終局まで大体において我が国の書風に変化というものはなかった。
English: Of the New Chinese styles, the Ryoko style (the calligraphic style by Ryoko MAKI) became dominant, and Chikage KATO's style was used for writing kana characters, because KATO's style was harmonious with character styles of Ryoko.
Japanese: 唐様の新派の中で菱湖流（巻菱湖の書風）が盛り上がりを見せ、かなも菱湖の字体に調和した加藤千蔭が用いられた。
English: The Ryoko's fresh and bright calligraphic style based on Ouyang Xun's writing style was accepted as being suited for the new building sense of the Meiji Restoration, and the official character style used in the Meiji government changed to the Ryoko style from the Oie style.
Japanese: 欧陽詢の書法を取り入れた新鮮で明るい菱湖の書風が明治維新の新興の感覚に受け入れられ、明治政府の官用文字は御家流から菱湖流に改められた。
English: Setsujo NAKAZAWA, a follower of Ryoko, inherited his mentor's style well, and many excellent calligraphers, including Ichiroku IWAYA and Shundo NISHIKAWA, appeared from his followers.
Japanese: 菱湖の門弟として中沢雪城が師風をよく継承し、のちに巌谷一六・西川春洞などの大家を輩出する。
English: In addition, the Ryoko style was utilized usefully later as well mostly in the practical field as well as the educational field: For example, Ryotan MAKI, a follower of Ryoko, became an author of textbooks for calligraphy.
Japanese: また、菱湖の門弟の巻菱潭が習字教科書の執筆者になるなど、菱湖流は主に教育面と実用面でその後も貢献する。
English: Invited by He Ruzhang, Qing's Minister in Japan, Yang Shoujing came to Japan in April of 1880 with 13,000 inscriptions and copybooks from the six dynasties of the Han and Wei (three dynasties) period, and stayed in Japan for four years.
Japanese: 明治13年（1880年）4月、楊守敬は清駐日公使何如璋の招きで漢魏(三国)六朝の碑帖13000点を携えて来日し、4年間在留した。
English: This event greatly affected the Japanese calligraphic world that had been forced to study based only on poorly printed books, and in particular, attention was focused on inscriptions on monuments during the Han period and those from the Northern Wei period.
Japanese: この出来事は、それまで貧弱な版本を頼りに研究するより他に方法のなかった日本の書道界に大きな影響を与え、特に漢碑や北碑に注目が集まった。
English: Then the three of Ichiroku IWAYA, Sekka MATSUDA, and Meikaku KUSAKABE visited Yang Shoujing almost like one of their daily jobs to ask for the calligraphic methods, providing the opportunity to make the six dynasty style become popular
Japanese: そして巌谷一六・松田雪柯・日下部鳴鶴の3人は、ほどんど日課同様に楊守敬を訪ね書法を問い、これが六朝書道流行の発端となった。
English: In 1882, Gochiku NAKABAYASHI visited Qing together with YO Genbi (an officer at Qing's Office of Director in Nagasaki), and, visiting Hanson, the mentor of YO Genbi (the mentor of Yang Shoujing as well), was engaged in study of calligraphy there.
Japanese: 明治15年（1882年）中林梧竹が余元眉（よげんび、長崎の清国理事府理事官）とともに渡清し、余元眉の師潘存（はんそん、楊守敬の師でもある）を訪れ、書法の研究に従事した。
English: However, Gochiku's learning abroad, together with Yang Shoujing's visit to Japan, was the largest causes to make the six dynasty style popular.
Japanese: しかし、この梧竹の留学は楊守敬の来朝とともに六朝風勃興の最大原因となったのである。
English: Following him, Meikaku went to Qing in 1891, visiting such great calligraphers as Yu Yue, Yang Xian, and Wu Dacheng.
Japanese: 続いて明治24年（1891年）鳴鶴が渡清し、兪樾、楊峴、呉大澂などの大家を尋ねた。
English: In July of 1877, Shinsen KITAGATA went to Qing to propagate his religious sect by direction of Hifashi-Hongan-ji Temple.
Japanese: 北方心泉は明治10年（1877年）7月、東本願寺の命により布教のために渡清した。
English: Ginko KISHIDA (a business man) and Taiu MARUYAMA (tenkokuka - a seal engraving artist) learnt from Xu Sangeng, taking the opportunity to start commercial relationships in Shanghai.
Japanese: 岸田吟香（実業家）と円山大迂（篆刻家）は明治12年（1879年）ごろ、吟香が上海に開いた商業上の関係を機縁として徐三庚に親近し教えを受けた。
English: Hekijo AKIYAMA (also called Tanen or Hakugan) visited Qing in 1886, and learnt under Xu Sangeng for many years, handing down his mentor's calligraphic style.
Japanese: 秋山碧城（探淵、白巌ともいう）は明治19年（1886年）渡清し、徐三庚のもとで永年学び、師の書風を伝えている。
English: Shundo NISHIKAWA studied the Xu Sangeng" calligrapy that Hekijo AKIYAMA brought back to Japan from Qing, and was devoted to Xu Sangeng.
Japanese: 西川春洞は日本で秋山碧城が清国から持ち帰った徐三庚の書を学び、徐三庚へ傾倒した。
English: At that time, kaisho (Chinese characters in standard style), gyosho (cursive style of writing Chinese characters) and sosho (very cursive style of writing Chinese characters, more abbreviated and flowing than gyosho) were ordinarily learnt, but Shundo also learnt keisho (clerical scripts) and tensho (seal scripts) as well.
Japanese: 当時は通常、楷書・行書・草書を学ぶまでであったが、春洞は書域を隷書・篆書まで広げた。
English: In this way, through interaction with persons in the monument school in Qing, a new trend of advocating the monument school, centered on calligraphy on inscriptions on monuments in the Northern Wei period, was generated.
Japanese: このように明治に入って清人の碑学派との交流により、北碑の書などを中心にこの碑学派に走る新しい思潮が生まれた。
English: Daiiki NARUSE, Sanshu CHO, Baikei HIDAKA, Banka YOSHIDA, and Kindo KANAI advocated the calligraphic style of Yan Zhenqing (the Yan style) in Tang, to keep traditional calligraphic styles.
Japanese: 成瀬大域、長三洲、日高梅溪、吉田晩稼、金井金洞などは伝統的な書を守ろうとし、唐の顔真卿の書法（顔法）を主張した。
English: Because Baikei HIDAKA, a follower of Sanshu CHO, became an author of calligraphic school textbooks compiled by the state, the Yan style was used for textbooks in this period.
Japanese: そして長三洲の門弟の日高梅溪が国定習字教科書の執筆者となったことから、この時代の教科書の書風は顔法になっている。
English: Such confrontation between the conservatives and the reformists were quite similar to the one between the manuscript school and the monument school in Qing.
Japanese: このような保守派と革新派との対立は、ちょうど清国の帖学派と碑学派に酷似している。
English: However, "Naniwazu-kai" (an association) was established to promote the diffusion of knowledge about Jodai-style in 1890 by Sanetomi SANJO, Chikutei HIGASHIKUZE, Sugimura KOSUGI, Masakaze TAKASAKI, Shugyo OGUCHI, Masaomi BAN, and Mitsuaki TANAKA.
Japanese: しかしながら、上代様に対する知識の普及に力を傾倒した「難波津会」（なにはづかい）が明治23年（1890年）に三条実美、東久世竹亭、小杉榲邨、高崎正風、大口周魚、阪正臣、田中光顕らによって創設された。
English: "Naniwazu-kai" started a movement for making efforts to add corrections to the Oie style, largely contributing to forming a bases of today's kana calligraphy.
Japanese: この「難波津会」の運動は、伝来の御家流に修正を加える努力を開始し、今日のかな書道の基底を形成する上に大きく貢献した。
English: In 1896, Shugyo OGUCHI found "Nishi-Honganji-bon Sanju-rokunin-kashu" (the Nishi-Honganji collection of thirty-six anthologies) in Nishi-Hongan-ji Temple, introducing the extreme beauty of kana calligraphy during the Heian period.
Japanese: また明治29年（1896年）には大口周魚が西本願寺から『西本願寺本三十六人家集』の完本を発見し、平安仮名の粋を紹介した。
English: During the Meiji period, there were many genkun who were good at calligraphy, including Hirobumi ITO (Hirobumi), Taneomi SOEJIMA (Taneomi), Takayoshi KIDO (Takayoshi), Toshimichi OKUBO (Toshimichi), Sanetomi SANJO (Sanetomi), and Takamori SAIGO (Takamori).
Japanese: 明治の元勲には能書が多く、伊藤博文（博文）、副島種臣（種臣）、木戸孝允（孝允）、大久保利通（利通）、三条実美（実美）、西郷隆盛（隆盛）などがあげられる。
English: During the era from the latter half of the Edo period to the Taisho period, building monuments was popular, and many monuments for men of literature in Edo remain in the Shitamachi area of Tokyo.
Japanese: 江戸時代後期から大正時代にかけて建碑が流行し、東京の下町には江戸文人たちの碑がたくさん残っている。
English: Meikaku KUSAKABE visited many places throughout Japan, writing inscriptions, the number of which is said having reached a thousand and several hundreds.
Japanese: 日下部鳴鶴は全国を行脚して碑文を書き、その数、千数百基に及ぶといわれる。
English: In addition, many other calligraphers, including Shundo NISHIKAWA, Shosai YANAGIDA, Sanshu CHO, Soken NOMURA, Kindo KANAI, and Eishi MIYAJIMA, were engaged in writing inscriptions.
Japanese: その他、西川春洞、柳田正斎、長三洲、野村素軒、金井金洞、宮島詠士など多数の書家が携わっている。
English: From Meiji to the Taisho period, eight shindo-hi monuments (see below) were built as directed by Emperor Meiji.
Japanese: また、明治天皇の勅命により神道碑が明治から大正時代にかけて8基建てられた。
English: A shindo-hi monument is a monument which is built on the path to a person's grave praising his or her high virtue, for example, "The shindo-hi monument for Toshimichi OKUBO."
Japanese: 神道碑（しんどうひ）とは、墓所の墓道に建てる頌徳碑であり、『大久保公神道碑』などがある。
English: With five centimeter square characters, the inscription consists of 2919 characters, the largest number of those of the inscriptions in Japan, and is said Meikaku's greatest masterpiece.
Japanese: 1字の大きさは5cm角で、総字数2919字は我が国最大の楷書碑であり、鳴鶴の最高傑作といわれる。
English: This monument is located in the Aoyama cemetery, where 15,000 tombstones were built, including precious ones from the viewpoint of calligraphy.
Japanese: 青山霊園にあるが、ここには1万5000の墓碑が立ち、書的に貴重なものも多い。
English: In 1902, Rikusho Kyokai (Rikusyo Association) held an exhibition, resembling the forms of present organizations for calligraphy.
Japanese: 明治35年（1902年）には六書協会が展覧会を開き、現代の書道団体の形態に近づいてきた。
English: Leaving desk study, the calligraphic world in this period formed a kind of journalistic world as well, though quite small.
Japanese: この時代の書道界は、机上の研究から、小さいながらも一種のジャーナリスティックな世界をも形成した。
English: Lots of matters were disputed there, and calligraphic exhibitions were held publicly, offering topics of conversation for common people.
Japanese: 盛んな論争が行われ、展示会が街頭に進出して一般の人に話題を提供するなどした。
English: From the end of the Meiji period to the Taisho period, publications on calligraphy were available as a new promotion tool to make calligraphic philosophy more popular, constituting an early form of the PR movement in the today's calligraphic world
Japanese: 書道思想の普及、宣伝の新たな方策として、明治時代末期から大正時代にかけて書道の刊行物が発行され、今日の書道界におけるPR運動の先駆けとなった。
English: "Danshokai Shucho," "Shoen," " Calligraphy and painting," "Fude no Tomo" (Friends of brushes), "Shodo Kenkyu" (Calligraphic study), "Shosei," and "Rikucho shodo ron" (Discussions on the six dynasty style calligraphy) were published.
Japanese: 『談書会集帖』・『書苑』・『書道及画道』・『筆の友』・『書道研究』・『書勢』・『六朝書道論』などが発行された。
English: Starting with shabby publications of hojo (copybooks printed from the works of old masters of calligraphy) in an inconvenient publishing situation, Mokuho MAEDA used the latter half of his life to make classic calligraphic materials more easily available.
Japanese: また前田黙鳳は不便な出版事情にあって貧弱な法帖出版から出発して、古典資料の普及にその半生を費やした。
English: This book, a translation by Reizan IDO and Fusetsu NAKAMURA of "Guang yi zhou shuang ji zhu" by Ko Yui (Kang Youwei), was published in February of 1914, and attracted attention because the book was considered providing a base of the six dynasty style calligraphy.
Japanese: 井土霊山・中村不折共訳による康有為の『廣藝舟雙楫』の訳本で、大正3年（1914年）2月に刊行され、六朝書道に体系的な論拠を与えるものとして注目を集めた。
English: The calligraphy of Kukai and that of ONO no Tofu are exquisite, if asked whether they are exquisite or not, and are like being written by god, if asked whether they are like being written by god or not, but when viewing their works minutely, it is found that they were only imitators of calligraphy in Tang and did not worship what they understood as the origin of calligraphy in the Tang period.
Japanese: 「空海・小野道風の書、妙は則ち妙なり、神は則ち神也、然れども之れを細観し来る時は唯唐書の盲従者たるに過ぎずして、唐代の書を遡源的に解釈して之れを崇拝したるものにあらざるが如し。」
English: During the period when Kukai and Tofu worshipped calligraphy in China, they could view almost nothing other than inscriptions on monuments in Tang, and concerning six-dynasty style calligraphy, they could view only Huang Ting Jing by Wang Xizhi and Gakki ron also by Wang Xizhi, which included many reprints of such calligraphy.
Japanese: 「空海・道風の崇拝時代には唐碑以外は殆ど見る所なく、六朝書の如きは数々翻刻せる王羲之黄庭経・王羲之楽毅論等を目覩したるに過ぎざるものの如し。」
English: 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.
Japanese: 「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。」
English: Artists' last claim is "Return to nature," and I think that, in calligraphy, there are so-called "many natural things to be found " in inscriptions on monuments in the six Han-Wei dynasties.
Japanese: 「美術家の最後の叫びは『自然に帰れ』の一語にあり、余は思ふ、書道に於て漢魏六朝碑に向って所謂る自然の尋ぬべきもの多々なるを。」
English: From the end of Meiji to the Taisho period, Meikaku KUSAKABE and Ichiroku IWAYA, both enlightened by Yang Shoujing, actively supported calligraphy of the six dynasties, and Gochiku NAKABAYASHI in addition to Shundo NISHIKAWA, who was affected by Xu Sangeng, was also active, making movements in the Chinese calligraphic world in this flamboyant era.
Japanese: 楊守敬より啓発を受けた日下部鳴鶴、巌谷一六の六朝書道、また、徐三庚に影響された西川春洞、さらに中林梧竹らの活躍によって、明治末から大正にかけての漢字書道界は華やかな動きを示している。
English: However, the largest event was the activity sponsored by the Konohana-kai association headed by Gado ONO.
Japanese: しかしながら、その中で最も大きな出来事は、小野鵞堂を主柱とする斯華会の活動である。