nntsuzu/KFTT huggingface dataset:
English: Daitoku-ji Temple Shinjun-an's "Chikuseki-Hakkaku-zu" (bamboo, stone and crane) (Six-paneled folding screens) is also traditionally said to be Masanobu's work, even though no signature stamps exist.
Japanese: 大徳寺真珠庵の『竹石白鶴図』（六曲屏風1隻）も印章等はないが、古くから正信作とされている。
English: 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.
Japanese: 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。
English: However, amongst them, "Shu Moshuku Airen-zu" is a plain picture, which has a large blank space at the top, and the green color of the big willow tree in the foreground is impressive.
Japanese: が、なかで『周茂叔愛蓮図』は画面上半分に余白を大きく取り、近景の柳の大木の緑が印象的な平明な画面である。
English: There are also some Buddhist paintings such as "Monju-Bosatsu-zu" (Manjusri Bodhisattva) (The Museum of Modern Art, Gunma), and he is thought to have painted different subjects and different styles as an occupational painter.
Japanese: また『文殊菩薩図』（群馬県立近代美術館）のような仏画の遺品もあり、職業絵師として、多様な画題、画風をこなしていたものと思われる。
English: Chikuseki-Hakkaku-zu (Daitoku-ji Temple Shinju-an, Kyoto Prefecture) A painting attributed to Masanobu, Important Cultural Property, on loan to Kyoto National Museum
Japanese: 竹石白鶴図（京都・大徳寺真珠庵）伝正信筆　重要文化財　京都国立博物館委託
English: Motonobu KANO (September 6, 1476 - November 15, 1559) was a painter of the Muromachi period, and the son of the Kano school's founder, Masanobu KANO.
Japanese: 狩野元信（かのうもとのぶ、文明(日本)8年8月9日(旧暦)（1476年8月28日）?-永禄2年10月6日(旧暦)（1559年11月5日））は、室町時代の絵師で、狩野派の祖・狩野正信の子である。
English: He inherited his father's style, but also introduced the technique of Yamato-e painting (a traditional Japanese style painting of the late Heian and Kamakura periods dealing with Japanese themes), forming the basis of the Kano school.
Japanese: 父・正信の画風を継承するとともに、大和絵の技法を取り入れ、狩野派の基礎を築いた。
English: Motonobu KANO was either the first or the second son of the Kano school's founder, Masanobu KANO and the second head of the Kano school.
Japanese: 狩野元信は、狩野派の初代・正信の子（長男または次男とされる）で、狩野派2代目である。
English: Motonobu perfected the painting style of the Kano school and laid the foundations for the success of the Kano school, which continued until the modern era.
Japanese: 元信は、近世へと続く狩野派の画風の大成者であり、近世における狩野派繁栄の基礎を築いた画家である。
English: His first appearance as a painter in the historical record was in 1513, when he produced "Kuramadera-Engi-e"(painting of the history of Kurama-dera Temple).
Japanese: 絵師としての記録上の初見は永正10年（1513年）で、この時、『鞍馬寺縁起絵』を制作している。
English: The partition wall painting of Daisen-in in Daitoku-ji Temple, which still exists, is usually said to have been produced in 1513, at the time of the building of Daisen-in but there is some speculation that it was painted in 1535, when Daisen-in Hojo (an abbot's chamber) was renovated.
Japanese: 現存する大徳寺大仙院の障壁画は、同院創建時の永正10年（1513）の制作とするのが通説であったが、大仙院方丈の改築が行われた天文(元号)4年（1535年）の作とする見方もある。
English: Motonobu was involved in the following major projects during his sixties.
Japanese: 元信は60歳代にあたる天文年間に以下のような大きな仕事に携わっている。
English: First, for approximately 15 years from 1539, he was involved in the partition wall painting of Ishiyama-Hongan-ji Temple.
Japanese: まず、天文8年（1539）から約15年間、石山本願寺の障壁画制作に携わった。
English: During this period, in 1543, he painted at Dairi-kogosho (the imperial palace) and, around the same time, painted the partition wall of Reiun-in in Myoshin-ji Temple, and in 1545 was awarded the rank of Hogen (the second highest rank in the hierarchy of Buddhist priests).
Japanese: この間、天文12年（1543）には内裏小御所、同じ頃には妙心寺霊雲院の障壁画を描き、天文14年（1545）頃に法眼（僧の位の一つ）を与えられている。
English: Due to the protection of such powerful patrons as the Muromachi bakufu (Japanese feudal government headed by a shogun), the Imperial Court and Ishiyama-Hongan-ji Temple, he was able to survive the turmoil of the Sengoku period (period of Warring States).
Japanese: 元信は、室町幕府、朝廷、石山本願寺など、時の有力者より庇護を受けつつ、戦国時代(日本)の乱世を生き抜いた絵師であった。
English: 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.
Japanese: 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。
English: He left various categories of works as an occupational painter, including portraits such as "Iio Sogi-zo" (Portrait of Sogi IIO) (Museum of Fine Arts, Boston) and "Shinme-zugaku" (votive picture of a horse) at Kamo-jinja Shrine, Hyogo both of which still exist.
Japanese: 職業絵師としてさまざまなジャンルの作品を残しており、『飯尾宗祇像』（ボストン美術館）のような肖像画、兵庫・賀茂神社の『神馬図額』（絵馬）のような作品も現存している。
English: Okyo MARUYAMA, (June 12, 1733 – August 31, 1795) was a mid Edo period painter.
Japanese: 円山応挙（まるやまおうきょ、享保18年5月1日(旧暦)（1733年6月12日）-寛政7年7月17日(旧暦)（1795年8月31日））は、江戸時代中期の絵師。
English: He was born in 1733 in Ano Village, Kuwata District, Tanba Province (currently Kameoka City, Kyoto Prefecture) as the second son of a farmer.
Japanese: 享保18年（1733年）、丹波国桑田郡穴太（あのお）村（現・京都府亀岡市）に農家の次男として生まれた。
English: Although his boyhood is not known well, he went to Kyoto from his late teens and became a disciple of Yutei ISHIDA, a painter of the Tsurusawa school belonging to Tanyu KANO.
Japanese: 少年時代のことはあまり詳しくわかっていないが、遅くとも十代の後半には京へ出て、狩野探幽の流れを引く鶴沢派の画家、石田幽汀の門に入っている。
English: It is known that he was involved in making so-called megane-e (eyeglass pictures) in his twenties.
Japanese: 20代の頃にはいわゆる「眼鏡絵」の制作に携わっていたことが知られる。
English: Megane-e are pictures that use the western line perspective method to draw landscapes, etc., which appear three-dimensional when looked at through a convex lense called Nozoki megane which is placed in a box.
Japanese: 眼鏡絵とは、風景などを西洋画の線遠近法を応用して描き、これを「覗き眼鏡」という凸レンズを嵌めた箱を通して見ると立体的に見えるというものである。
English: Okyo means that he considered himself equal to Senshunkyo (Qian Xuan) (a painter during the end of the Song Dynasty - the beginning of the Yuan Dynasty), and it seems that he intended to draw pictures at the same level as the Chinese virtuoso.
Japanese: 「応挙」の意は「銭舜挙（中国宋末-元初の画家）に応ずる」ということであり、中国の大家に劣らぬ水準の絵を描こうとする意が込められていると思われる。
English: Yujo was from the Nijo family of court nobles, and he became a priest and disciple of a monzeki temple (a temple of high rank where members of imperial family and nobility enter the priesthood) and left a book called "Banshi" which kept a record of quotidian matters, in which Okyo's speech and behavior is described in detail and is regarded as a valuable record of the same period.
Japanese: 祐常は公家の二条家から門跡寺院に入って僧となった人物で、『萬誌』（ばんし）という日常雑事を記録した書物を残しているが、その中に応挙の言動が詳細に書き留められており、同時代の貴重な記録となっている。
English: His representative works, Sichinan-sichifuku-zu (the Seven Misfortunes and Seven Fortunes) and Kujaku-botan-zu (Peacocks and Peonies) etc. had been kept at the Mii-dera Temple (Onjo-ji Temple) Enman-in until after the end of the World War II, and Sessho-zu (Pine Tree in Snow) had been in the possession of the Mitsui family.
Japanese: 代表作の《七難七福図》、《孔雀牡丹図》などは第二次大戦後まで三井寺円満院に伝来したものであり、《雪松図》は三井家に伝来したものである。
English: Moreover, a set of pictures on partitions at the Daijo-ji Temple in Hyogo and Kongo-ji Temple in his hometown Ano can also be counted as one of his representative works.
Japanese: また、兵庫・大乗寺、郷里穴太の金剛寺の障壁画群も代表作に数えられよう。
English: The most prominent feature of Okyo's painting style is his emphasis on sketching especially among early modern Japanese painters.
Japanese: 応挙の画風上の特色として第一に挙げるべきことは近世の日本の画家のなかでも際立って「写生」を重視したことである。
English: According to "Banshi" written by Yujo, as described above, it seems that Okyo always secretly carried his sketchbook with him and devoted every spare moment to sketching.
Japanese: 前述の祐常著『萬誌』によれば、応挙は常に懐中に写生帖を忍ばせ、暇さえあればスケッチに余念がなかったようだ。
English: Animals, insects and plants are depicted objectively from a variety of different angles in the still existing "Kacho-shasei-zumaki" (Personal Library, Important Cultural Asset) and Shasei-jo (Album of sketches) in the possession of the Tokyo National Museum.
Japanese: 現存する『花鳥写生図巻』（個人蔵、重要文化財）や東京国立博物館蔵の《写生帖》などには動物、昆虫、植物などがさまざまな角度から客観的に描写されている。
English: Okyo's paintings are based on these sketch techniques and deal with traditional subjects of Japanese painting and creates a screen rich in decorative features.
Japanese: 応挙画は、こうした写生の技術を基礎としつつも、日本絵画の伝統的な画題を扱い、装飾性豊かな画面を創造しているところが特色である。
English: Taking as an example the folding screen Fujibana-zu (Wisteria flowers) at Nezu Museum--while Okyo does not use any outline for drawing the trunks or branches of a Japanese wisteria and depicts them boldly by using tecniques called Tsuketate (see footnote below), he depicts the wisteria's flower truss delicately and in a true-to-life way. He also successfully creates a decorative large screen which includes elements of the Rinpa school as a whole.
Japanese: 一例として根津美術館蔵の《藤花図》屏風を見ると、藤の幹や枝は輪郭線を用いず、付立て（注）の技法で大胆に描き出す一方で、藤の花房は写実的かつ繊細に描かれ、全体としては琳派を思わせるような装飾性豊かな大画面をつくり出すことに成功している。
English: Okyo paintings were popular among the rich townspeople including the Mitsui family due to his great art of drawing and simple and friendly painting style.
Japanese: 卓越した画技と平明で親しみやすい画風から、応挙画は三井家をはじめとする富裕な町人層に好まれた。
English: The school which had Okyo as its founder was called the Maruyama Shijo school, and has become a source of Kyoto art circles, which are in the lineage of this school.
Japanese: 応挙を祖とするこの一派は「円山四条派」と称され、現代にまでその系譜を引く京都画壇の源流となっている。
English: Shichinan-shichifuku-zukan (1768) in the old stock of the Manno Museum (closed in 2004) (Important Cultural Asset), was donated to the Jotenkaku Museum
Japanese: 七難七福図巻　明和5年（1768）萬野美術館（2004年閉館）旧蔵（重文）承天閣美術館へ寄贈
English: Kujaku-botan-zu (1771) in the old storage of the Manno Museum (important cultural asset) was donated to the Jotenkaku Museum
Japanese: 孔雀牡丹図　明和8年（1771）萬野美術館旧蔵（重文）承天閣美術館へ寄贈
English: The Pictures on the Partitions at the Daijo-ji Temple (165 murals) in 1787 and 1795 is in the possession of the Daijo-ji Temple in Kami-cho, Hyogo Prefecture (Important Cultural Asset)
Japanese: 大乗寺障壁画（165面）天明7年（1787）および寛政7年（1795）兵庫・大乗寺(香美町)蔵（重文）
English: The Pictures on Partitions at the Kongo-ji Temple in 1788 are in the possession of the Kongo-ji Temple, Kyoto Prefecture (Important Cultural Asset) which have been entrusted to the Tokyo National Museum.
Japanese: 金剛寺障壁画　天明8年（1788）京都・金剛寺蔵（重文）東京国立博物館に寄託中。
English: The Pictures on Partitions at the Kotohira-gu Shrine (1787 and 1794) are in the possession of the Kotohira-gu Shrine depicted on order of the Mitsui family.
Japanese: 金刀比羅宮障壁画天明7年（1787）および寛政6年（1794）金刀比羅宮蔵（重文）三井家の注文で描いたもの。
English: Tankei (1173-June 20, 1256) was a sculptor of Buddhist statues during the Kamakura period..
Japanese: 湛慶（たんけい、承安(日本)3年（1173年）-建長8年5月19日(旧暦)（1256年6月13日））は、鎌倉時代の仏師。
English: All the sons of Unkei became sculptors, of which the oldest son, Tankei, is known as a virtuoso like Unkei and Kaikei.
Japanese: 運慶のもうけた男子は皆、仏師になったが、なかでも嫡男の湛慶は、運慶、快慶とならぶ大家として知られる。
English: It is known that, at the age of 82, Tankei completed a big statue of the Senju Kannon (the Thousand Armed Kannon), the principal image at the Myoho-in Temple, Rengeo-in (Sanjusangen-do) in Kyoto according to the inscription on the monument.
Japanese: 京都・妙法院蓮華王院本堂（三十三間堂）本尊の千手観音の巨像は、銘文から、湛慶最晩年の82歳の時に完成したことが知られる。
English: Among the 1,000 statues (more precisely 1,001 statues) standing together in large numbers on either side of the principal image at Sanjusangen-do, some statues have an inscription saying the statue was made by Tankei.
Japanese: 三十三間堂の本尊の左右に林立する千体（正確には1,001体）千手観音立像中にも湛慶作の銘をもつものが数体ある。
English: The Wooden Standing Statues of Zenmyo-shin and Hakko-shin at the Kozan-ji Temple (Kyoto City): it is presumed that these were made by Tankei, although there is no inscription.
Japanese: 木造善妙神立像・白光神立像-高山寺（京都市）銘記はないが湛慶の作と推定されている。
English: Eitoku KANO (February 16, 1543 - October 12, 1590) was a painter who lived during the Azuchi-Momoyama period.
Japanese: 狩野永徳（かのうえいとく、天文(元号)12年1月13日(旧暦)（1543年2月16日）-天正18年9月4日(旧暦)（1590年10月12日））は、安土桃山時代の絵師。
English: He was a leading painter of the Kano school (a painting school that served as a focal point for the art circles of Japan from the Muromachi period through to the Edo period) and remains one of the best-known painters in the history of Japanese art.
Japanese: 狩野派（室町時代から江戸時代まで日本画壇の中心にあった画派）の代表的な画人であり、日本美術史上もっとも著名な画人の一人である。
English: Notable extant works of his include "Karajishi-zu Byobu" (a folding screen with a painting depicting karajishi, which is the Japanese word for Chinese lions), "Rakuchu Rakugai-zu" (a painting depicting Kyoto and its surroundings) and "Juko-in Shohekiga" (a wall painting at the Juko-in Temple).
Japanese: 現存する代表作に『唐獅子図屏風』、『洛中洛外図』、『聚光院障壁画』などがある。
English: As the head of Kano school, Eitoku served Nobunaga ODA and Hideyoshi TOYOTOMI, who took control of the country, and he created wall paintings for places such as Azuchi-jo Castle, Jurakudai residence and Osaka-jo Castle.
Japanese: 狩野派の棟梁として、織田信長、豊臣秀吉という天下人に仕え、安土城、聚楽第、大坂城などの障壁画を制作した。
English: Many of the representative achievements through which Eitoku displayed his talents perished together with the buildings that housed them, and the existing works considered to be genuine are relatively few in number.
Japanese: 永徳が力を振るったこれらの代表的な事績は建物とともに滅びてしまったものが多く、真筆とされる現存作品は比較的少ない。
English: Eitoku is known for his magnificent and bold paintings (called 'Taiga') such as "Karajishi-zu Byobu" and "Hinoki-zu" (Japanese cypress tree), but he is considered to have created 'Saiga' (detailed paintings) too (described in "Honcho Gashi").
Japanese: 永徳といえば『唐獅子図』や『檜図』のような雄大なスケールの豪快な作品（大画）がよく知られるが、細部を緻密に描写した「細画」もよくしたとされる（『本朝画史』）。
English: One of his representative works that is still extant, "Uesugi-bon Rakuchu Rakugai-zu," shows that he excelled in detailed paintings.
Japanese: 現存する代表作の一つである上杉本洛中洛外図は、彼が細密描写に秀でていたことを示している。
English: The first record that described Eitoku's achievements was an entry in "Tokitsugu Kyoki" (Dairy of Tokitsugu YAMASHINA) written on January 29, 1552; according to that record, Hogen KANO (Motonobu KANO) took his grandson to have an audience with Shogun Yoshiteru ASHIKAGA, and this 'grandson' is thought to be Eitoku at the age of 10 (by the traditional Japanese system).
Japanese: 最初に永徳の事績が記録に現れるのは山科言継の日記『言継卿記』の天文21年（1552年）正月二十九日条で、この日に狩野法眼（狩野元信）が孫を連れて将軍足利義輝に拝謁したことが記録されており、この「孫」が当時10歳（数え年）の永徳と推定されている。
English: As for "Uesugi-bon Rakuchu Rakugai-zu," one of his representative works, although there are various views on its patronage, date of creation, and the date of landscape it depicts, it is now considered to have been completed in 1565 according to scholarship at the end of the 20th century.
Japanese: 永徳の代表作の一つと見なされている上杉本『洛中洛外図』は、その注文者、制作年代、景観年代について多くの説があるが、20世紀末の研究の進展により、永禄8年（1565年）の完成と見なされるようになった。
English: According to the "Uesugi Nenpu" (Uesugi's chronological record), Nobunaga ODA gave this folding screen painting to Kenshin UESUGI in 1574.
Japanese: この屏風は、天正2年（1574年）、織田信長から上杉謙信に贈られている（上杉年譜）。
English: Also, he was closely-linked to the Konoe family, the head of Gosekke (five families whose members were eligible for the positions of Sessho and Kanpaku) and drew wall paintings for Sakihisa KONOE's residence in 1567 and 1568 (described in "Tokitsugu Kyoki").
Japanese: また、五摂家の筆頭である近衛家とも関係が深く、永禄10-11年（1567年-1568年）には近衛前久（さきひさ）邸の障壁画を描いている（言継卿記）。
English: According to "Shincho Koki" (in the biography of Nobunaga ODA), he drew wall paintings for Azuchi-jo Castle from 1576 through 1579, then for Osaka-jo Castle and Jurakudai residence as well in 1583 and 1586 respectively; in this way, he was given important posts by lords such as Nobunaga ODA and Hideyoshi TOYOTOMI.
Japanese: 天正4-7年（1576年-1579年）には安土城に障壁画を描き（信長公記）、天正11年（1583年）には大坂城、天正14年（1586年）には聚楽第の障壁画を担当するなど、織田信長や豊臣秀吉をはじめとする権力者に重く用いられた。
English: In 1589, he was commissioned to make a wall painting for Emperor Goyozei's Imperial palace, then in 1590, drew a wall painting of Katsuranomiya.
Japanese: 天正17年（1589年）には後陽成天皇の内裏の障壁画を担当し、天正18年（1590年）には桂宮の障壁画を描いた。
English: In September of the same year, Eitoku became ill during the creation of the ceiling painting Tofuku-ji Hatto (Dharma Hall of Tofuku-ji Temple), and passed away shortly thereafter.
Japanese: 同年9月、永徳は東福寺法堂（はっとう）の天井画の龍図を制作中に病気になり、ほどなく死去した。
English: The ceiling painting of Tofuku-ji Hatto was completed by a disciple, Sanraku KANO, based on Eitoku's preliminary sketch, but it is not extant.
Japanese: なお、東福寺法堂の天井画は永徳の下絵を元に弟子の狩野山楽が完成させたが、現存しない。
English: Eitoku was commissioned to make 16 panels of 'Kacho-zu' (depicting flowers and birds) and 8 panels of 'Kinki Shoga-zu' (depicting the four accomplishments: the lute, the game of go, calligraphy, and painting).
Japanese: 永徳が担当したのは「花鳥図」16面および「琴棋書画図」8面から成る。
English: Originally it was considered to have been created in 1566 when Juko-in Temple was built and Eitoku was 24, but it is now considered to have been created in 1583, much later than was previously theorized, due to investigations into the painting style and inquiry into the age of abbot's chamber itself.
Japanese: 制作年代については従来聚光院創建の年である永禄9年（1566年）、24歳の作品とされていたが、画風の検討や、方丈自体の建立年代の見直しから、かなり後の天正11年（1583年）とする説も有力になっている。
English: Reproductions have been made at regular intervals since 2006, and the original paintings will be housed in Kyoto National Museum.
Japanese: 2006年より順次複製が制作され、オリジナルは京都国立博物館に寄託される。
English: This is a representative Rakuchu Rakugai-zu portraying Rakuchu (the center of Kyoto) and Rakugai (a suburb) from above, and it is said that this painting was drawn by Eitoku before 1565 and given to Kenshin UESUGI by Nobunaga ODA in 1574.
Japanese: 京都の中心部（洛中）と郊外（洛外）を鳥瞰的に描いた洛中洛外図の代表作で、永禄8年（1565年）までに永徳が描き、天正2年（1574年）（天正2年）に織田信長が上杉謙信に贈ったものとされる。
English: Also, this is important as an historical record, and it is said that 2,500 people were portrayed in this screen painting.
Japanese: 歴史資料としても貴重で、この屏風に描かれた人物の数は約2,500人という。
English: There are various theories about its date of creation because of the city landscape depicted.
Japanese: この屏風については、描かれた都市景観から、制作年代についてさまざまに議論されてきた。
English: Once, a theory espousing that the landscape depicted on the screen was of 1547 (when Eitoku was 5 years old) and concluding that 'The painting is not a work of Eitoku' caused controversy, but this theory is mostly discredited today since the date of the landscape depicted and the date of creation do not always correspond with each other.
Japanese: 屏風に描かれた景観年代を天文(元号)16年（1547年、永徳5歳）のものと見なし「永徳筆ではない」とする説が発表されて論争を巻き起こしたこともあるが、絵画作品の景観年代と制作年代は必ずしも一致するものではなく、今日この説はほぼ否定されている。
English: Later, a theory claiming that this painting was drawn by Eitoku, ordered by Yoshiteru ASHIKAGA and completed in 1565 (when Eitoku was 23 years old) became dogmatic due to the research of the historian Katsuya SETA, and Hideo KURODA who wrote "Nazotoki Rakuchu Rakugaizu" (Unraveling the mysteries of Rakuchu Rakugai-zu).
Japanese: その後歴史家の瀬田勝哉や黒田日出男の研究により、本作品は永徳の筆で、注文者は足利義輝、制作完成は永禄8年（1565年、永徳23歳）とする説がほぼ定説となっている（黒田日出男『謎解き洛中洛外図』など）。
English: It is said that Hideyoshi TOYOTOMI gave this painting to the Mori family in 1582 (when Eitoku was 40 years old), but this has not been confirmed.
Japanese: 天正10年（1582年、永徳40歳）に豊臣秀吉が毛利家に贈ったものと言われるが確証はない。
English: These three paintings have come to be considered works of Eitoku, and there is little disagreement about this among art historians.
Japanese: 以上3件は従来から永徳筆とされてきたもので、美術史家の間には永徳作とすることについてほとんど異論はない。
English: In the "KANO EITOKU Special Exhibition" (Kyoto National Museum, 2007), the following paintings are treated as works of Eitoku.
Japanese: 「特別展覧会狩野永徳」（2007年、京都国立博物館）においては以下の作品を永徳作としている。
English: This is a collaborative work of the Kano school (c. 1586-1591), and Gunsen-zu is said most likely to have been drawn by Eitoku.
Japanese: 狩野派による共作（1586-91年頃）で、群仙図が永徳筆ではないかと言われる。
English: In July 2005, it was found in an antique dealer in Kyoto (reported on September 13, 2006 in The Asahi Shimbun).
Japanese: 2005年7月、京都の古物商で発見された（2006年9月13日朝日新聞報道）。
English: Tenzui-ji Temple was built by Hideyoshi on the grounds of Daitoku-ji Temple in 1874, and when Tenzui-ji Temple was abandoned the wall painting perished together with the building.
Japanese: 天瑞寺は大徳寺内に秀吉が創建したものだが、1874年、廃寺になった際、建物とともに障壁画も失われたとされる。
English: In 1581, Nobunaga ODA gave Azuchi-jo no zu Byobu to a missionary by the name of Alessandro Valignano, who visited Azuchi-jo Castle.
Japanese: 天正9年（1581年）、織田信長は安土を訪れた宣教師ヴァリニャーノに安土城之図屏風を贈った。
English: This folding screen painting was exhibited in the castle town of Azuchi and Kyo, Capital, then brought to Europe by envoy during the Tensho era and then dedicated to the Pope in the Vatican.
Japanese: この屏風は安土城下や京で展示され、後に天正遣欧使節の手によって渡欧し、バチカンにてローマ教皇に献納された。
English: It is said that the Pope displayed the folding screen painting in the hallway that connected his residence and office, but the painting went missing after the Pope passed away.
Japanese: 教皇は住居と執務室を結ぶ廊下に屏風絵を飾ったといわれるが、教皇の死後に屏風は行方不明となった。
English: Shiga Prefecture and Azuchi-cho conducted an investigation in the Vatica in 1984 and 2005 respectively, but the painting was not found.
Japanese: 1984年には滋賀県が、2005年には安土町が、それぞれバチカンを調査したが、いずれも発見には至らなかった。
English: Tohaku HASEGAWA (1539 to March 19, 1610) was a painter in the Azuchi-Momoyama Period through to the early Edo Period.
Japanese: 長谷川等伯（はせがわとうはく、天文(元号)8年（1539年）-慶長15年2月24日(旧暦)（1610年3月19日））は、安土桃山時代～江戸時代初期の絵師。
English: He called himself Nobuharu HASEGAWA in the beginning and painted Buddhist pictures, and after reaching the age of 30, he moved to Kyoto.
Japanese: はじめ長谷川信春を名乗り、仏画などを描いていたが、のち30歳を過ぎて上洛。
English: He had a strong sense of rivalry toward the Kano School, which was the predominant school of art at the time--he established his own style.
Japanese: 当時の主流であった狩野派に対して強烈なライバル意識を持ち、独自の画風を確立。
English: However, his eldest son, Kyuzo, who showed artistic talent and would have followed in his father's footsteps, died early (it is said that he was killed by a member of the Kano School who feared the power being gained by the Hasegawa School), and in his late life, an accident caused him to lose the use of his right arm.
Japanese: しかし、画才に恵まれ跡継ぎと見込んでいた長男・久蔵に先立たれ（長谷川派の勢力伸長を恐れた、狩野派による「暗殺」とも言われている）、晩年には事故により利き腕である右手の自由を失う。
English: He later went to Edo at the request of Ieyasu TOKUGAWA, but passed away two days after arriving.
Japanese: 後に徳川家康の要請により江戸に下向するが、江戸到着後2日目にして病死した。
English: His most well known work is the Kinpeki Shohekiga (blue and gold wall painting) at the Shoun-ji Temple (now closed and the wall painting partially relocated to the Chishaku-in Temple in Kyoto), which Hideyoshi TOYOTOMI built in the memory of his beloved son, Tsurumatsu TOYOTOMI, who died as a young child.
Japanese: 豊臣秀吉が幼くして亡くなった愛児・豊臣鶴松の追善のために建立した祥雲寺（廃寺）の金碧障壁画（その一部が現在、京都・智積院に伝存）が代表作。
English: In addition to this wall painting, he drew many ink paintings, after the style of the Song and Yuan Dynasties of China.
Japanese: 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。
English: The legacy of the Shorin-zu folding screen decorated with a painting of a pine forest is clouded in uncertainty (the theory is that it is not a finished work, but a preliminary sketch created for the folding screen), yet it is a novel work and it is hard to believe that it was created 400 years ago.
Japanese: 「松林図」屏風は、その伝来、製作の事情など不明な点が多いが（完成作でない下絵を屏風に仕立てたものだという説もある）、400年前の作品とは思えない斬新な作品である。
English: It beautifully expresses an expanse of pine forest and a misty atmosphere in black ink with a minimum number of brush strokes.
Japanese: 極限にまで切り詰めた筆数と黒一色をもって、松林の空間的ひろがりと、そこにただよう湿潤な大気とを見事に表現している。
English: Ike no Taiga is a literati painter during the Edo Period. He was born June 6, 1723 and died May 30, 1776.
Japanese: 池大雅（いけのたいが／いけたいが、享保8年5月4日(旧暦)（1723年6月6日）-安永(元号)5年4月13日(旧暦)（1776年5月30日））は、日本の江戸時代の文人画家。
English: He had many Gago (pseudonyms), including Taigado, Taikado and Sangaku-dosha.
Japanese: 雅号は数多く名乗り、大雅堂（たいがどう）、待賈堂（たいかどう）、三岳道者（さんがくどうしゃ）などが知られている。
English: His works vary widely, including huge folding screens depicting historical events and famous sites in China and Japanese landscapes drawn with smart and refined brushwork.
Japanese: 中国の故事や名所を題材とした大画面の屏風、日本の風景を軽妙洒脱な筆致で描いた作品など、作風は変化に富む。
English: Yasunari KAWABATA's famous collection 'Juben Jugi-zu (Ten Advantages and Ten Pleasures of Country Life)' is a book jointly created by Taiga and Buson which depicts the convenience of secluded life in mountains, based on Rigyo's (Qing dynasty, China) 'Juben Jugi-zu' (Taiga drew the Ten Advantages).
Japanese: 川端康成の蒐集品として著名な「十便十宜図」は、中国・清の李漁の「十便十宜詩」に基づき、山荘での隠遁生活の便宜（便利さ、よろしさ）を画題に大雅と蕪村が共作した画帖である（大雅は「十便図」を担当）。