nntsuzu/KFTT huggingface dataset:
English: They are small scale pieces that depict secluded life, a lifestyle considered to be ideal for artists, in light brushwork and a refined use of discreet colors.
Japanese: 小品ながら、文人の理想とする俗塵を離れた生活を軽妙な筆遣いと上品で控えめな色彩で活写している。
English: Once when he was talking about Mt. Fuji with his friends at his retreat in Kyoto, they felt prompted to climb it.
Japanese: ある日京都の庵で仲間と富士山の話をしていて盛り上がり、『ならば登ろうではないか』ということになった。
English: They readied themselves for their climb, departed, and didn't return for a month.
Japanese: そして、いきなり旅支度を始め、富士山に行き旅巡りをして一か月以上して帰って来た。
English: Ryuzaburo UMEHARA (梅原 龍三郎: March 9, 1888 - January 16, 1986) is an oil painter who was active from the Taisho Period to Showa Period.
Japanese: 梅原龍三郎（うめはらりゅうざぶろう、1888年（明治21年）3月9日-1986年（昭和61年）1月16日）は、大正から昭和にかけての洋画家である。
English: Until 1914, he gave himself the first name of Ryozaburo (良三郎), and there a theory that this is his real name, while another says that he changed his name to Ryozaburo at some stage although he was named Ryuzaburo when he was born.
Japanese: 1914年（大正3年）までは名を良三郎と名乗るが、この名を本名とする説と、出生時に龍三郎と名付けられたが良三郎に改名していたとする説がある。
English: Before World War II to the end of the Showa Period, he dominated the Japanese western-style painting society as a leading figure.
Japanese: 第二次世界大戦前から昭和の末期まで長年にわたって日本洋画界の重鎮として君臨した。
English: His atelier (studio) at Ichigaya, Tokyo prefecture, designed by Isoya YOSHIDA, which he used in his later years, was moved to Kiyoharu art colony in Hokuto City, Yamanashi Prefecture and is now open to the public.
Japanese: 晩年に使用した吉田五十八設計の東京都市ヶ谷のアトリエが山梨県北杜市の清春芸術村に移築され公開されている。
English: He quit the Kyoto Prefectural Daini High School (present Toba Senior High School, Kyoto Prefectural) and after learning painting under Yoshihiko ITO, he entered Shogoin Institute of Western Art (present Kansai Bijutsuin (Fine Arts Academy of Western Japan))presided by Tadashi ASAI.
Japanese: 京都府立第二中学校（現在の京都府立鳥羽高等学校）を中退し、伊藤快彦に絵を学んだ後、浅井忠が主催する聖護院洋画研究所（現在の関西美術院）に入る。
English: In 1908, he went to France to learn about paintings with Kisaku TANAKA (later he became an art historian).
Japanese: 1908年（明治41年）に田中喜作（後に美術史家となる）と共にフランスに留学。
English: 1909, he acquired the opportunity to receive guidance from Pierre-Auguste RENOIR.
Japanese: 1909年（明治42年）にピエール＝オーギュスト・ルノワールの指導を受ける機会を得た。
English: In 1910, he contributed articles on RENOIR and the art in Paris to a journal "Shirakaba," through his acquaintance, Ikuma ARISHIMA.
Japanese: 知人の有島生馬を通じて、1910年（明治43年）にはルノワールについてや、パリの芸術について、雑誌『白樺(雑誌)』に寄稿している。
English: In 1913, he returned to Japan, and held an exhibition of his own works 'The Exhibition of Oil Paintings of Ryozaburo UMEHARA' sponsored by a publishing firm Shirakaba-sha at Kanda, Tokyo
Japanese: 1913年（大正2年）に帰国し、東京神田で個展「梅原良三郎油絵展覧会」を白樺社の主催で開催。
English: In 1920, he again went to France, and it is said that this visit was to make a condolatory call to RENOIR who died the previous year.
Japanese: 1920年（大正9年）に再び渡仏するが、前年に死去したルノアールの弔問のためでもあったという。
English: After that, he left the Shunyo-kai and joined Kokuga Sosaku Kyokai (National Creative Painting Association) with the invitation of Bakusen TSUCHIDA and set up the department of western-style painting (called The 2nd Department) within the Kokuga Sosaku Kyokai.
Japanese: その後、春陽会を去り、1925年（大正14年）に土田麦僊の招きで国画創作協会に合流し、国画創作協会洋画部（第2部と称した）を設置した。
English: In 1928, when Kokuga Sosaku Kyokai was dissolved, the department of western-style painting became independent and formed 'Kokugakai' (Society for National Painting).
Japanese: 1928年（昭和3年）に国画創作協会が解散した際に、洋画部が独立し「国画会」となった。
English: In 1935, he became a member of the Imperial Art Academy (present Japan Art Academy)
Japanese: 1935年（昭和10年）に帝国美術院（現在の日本芸術院）会員となる。
English: In 1944, he became a Teishitsu Gigeiin (Imperial art expert), as well as, a professor at the Tokyo Fine Art School(present Tokyo University of Art).
Japanese: 1944年（昭和19年）には帝室技芸員、東京美術学校（現在の東京芸術大学）教授となる。
English: In 1952, he resigned his position as a professor at the Tokyo University of Art, and went to Europe to act as an international judge in Venezia-Biennale.
Japanese: 1952年（昭和27年）に東京芸術大学教授を辞任し、渡欧しベネチア・ビエンナーレの国際審査員を務めた。
English: Tessai TOMIOKA (January 25, 1837 - December 31, 1924) was a literati painter and Confucianist during the Meiji and Taisho Periods.
Japanese: 富岡鉄斎（とみおかてっさい、天保7年12月19日(旧暦)（1836年1月25日）-大正13年1924年12月31日）は、明治・大正期の日本の文人画、儒学者。
English: He was born in Kyoto City (Sanjo-dori Shinmachi Higashi) as the second son of Korenobu TOMIOKA, who ran Denbei JUICHIYA making and selling Buddhist vestments.
Japanese: 京都市（三条通新町東）法衣商十一屋伝兵衛富岡維叙の次男として生まれる。
English: He was commonly called Yusuke, later changed to Dosetsu, then changed temporarily to Tessai, and changed again to Hyakuren.
Japanese: 猷輔を通称とし、のちに道昴・道節と称し、明治のはじめ頃、一時名を鉄斎としたが、しばらくのち百錬に改名。
English: He was slightly hard of hearing yet he studied hard from a young age, learning Sekimon Shingaku, which is the course of study followed by the Tomioka family.
Japanese: 耳が少し不自由であったが、幼少の頃から勉学に励み、はじめ富岡家の家学である石門心学を学ぶ。
English: From the age of 15, he studied Kokugaku (the study of the Japanese classics) and loyalism under Takamasa OKUNI and Kangaku (the study of the Chinese classics), Yomeigaku (doctrines of Wang Yang-Ming) and Chinese poetry under Gesshu IWAGAKI.
Japanese: 15歳頃から大国隆正に国学や勤王を、岩垣月洲らに漢学、陽明学、漢詩などを学ぶ。
English: In 1855, when he was 18 years old, he was sent to Rengetsu OTAGAKI, a nun and female poet, to receive further education.
Japanese: 安政2年(1855年)18歳頃に、女流歌人大田垣蓮月尼に預けられ薫陶を受ける。
English: The following year, he was taught a mixture of various styles of painting from Setsuyo KUBOTA and Nanko OSUMI, as well as Nanga (Chinese style painting) from Kaisen ODA and Yamato-e (classical Japanese style painting) from Ikkei UKITA.
Japanese: 翌年、南北合派の窪田雪鷹、大角南耕に絵の手ほどきを受け、南画を小田海僊に、大和絵を浮田一惠に学んだ。
English: In 1861, he went to Nagasaki to receive training at the Nagasaki Nanga school of art from Tetsuo SOMON and Itsuun KINOSHITA.
Japanese: 文久元年(1861年)には長崎に遊学し、長崎南画派の祖門鉄翁、木下逸雲らの指導を受けた。
English: The following year, in 1861, Tessai met Seiitsu YAMANAKA (Shinteno), and began making his living from artwork.
Japanese: 翌2年、山中静逸（信天翁）と出会いをきっかけに、画業で生計を立て始めた。
English: After the Meiji Restoration, he served as the Chief Priest at the Shikigami-jinja Shrine in Yamato and the Otori-jinja Shrine in Izumi, from 30 to his mid 40s.
Japanese: 明治維新後の30歳から40代半まで大和国石上神社や和泉国大鳥神社の神官（宮司）を勤める。
English: Following his motto, "Read many books and travel many miles," he traveled to many locations in Japan.
Japanese: 座右の銘である「万巻の書を読み、万里の道を往く」を実践し、日本各地を旅した。
English: In 1874, his relationship with Takeshiro MATSUURA took him to Hokkaido, where he created his masterpiece, Kyu-Ezo Fuzoku-zu, a painting depicting customs of the old Ezo region and expressing the life of the Ainu people.
Japanese: 明治７年(1874年)には、松浦武四郎との交流から北海道を旅し、アイヌの風俗を題材にした代表作「旧蝦夷風俗図」を描いている。
English: In 1881, upon his older brother Denbei's death, he went back to Kusuriya-cho in Kyoto, where he lived the rest of his life.
Japanese: 明治14年(1881年)、兄伝兵衛の死に伴い京都薬屋町に転居し、終の住処とする。
English: He was also active as a teacher, teaching at the Shijuku Ritsumeikan (Ritsumeikan Private Academy) in 1869.
Japanese: 教育者としても活躍し、明治2年（1869年）、私塾立命館で教員になる。
English: In 1893, he became a teacher at the Kyoto City Dohda Senior High School of Art and taught ethics until 1904.
Japanese: 明治26年（1893年）、京都市立銅駝美術工芸高等学校で教員に就任し、明治37年（1904年）まで修身を教える。
English: He was appointed judge of the Kyoto Young Men's Society of Painting (1886), became a member of the Kyoto Fine Arts Association (1890), an advisor to the Kyoto City Young Painter Exhibition of Japan (1891), a Teishitsu Gigeiin (Imperial art expert) (1917) and was a member of the Imperial Fine Arts Academy (1919).
Japanese: 京都青年絵画研究会展示会の評議員（1886年）、京都美術協会委員（1890年）、京都市立日本青年絵画共進会顧問（1891年）、帝室技芸員（1917年）、帝国美術院会員（1919年）と、順風満帆だった。
English: During this time, in 1897, he established the Nanga Association of Japan with Chokunyu TANOMURA and Aizan TANIGUCHI, with the aim of contributing to the development of Nanga.
Japanese: この間の明治29年（1897年）に田能村直入・谷口藹山らと日本南画協会を発足させ南画の発展にも寄与しようとした。
English: He also became friends with Gaho HASHIMOTO through Keinen IMAO, thus, deepening his connection with Meiji Kanto Gadan, a painter's circle.
Japanese: また今尾景年を通して橋本雅邦と知己となり、明治関東画壇との交流も深まった。
English: He often served as judge at art contests, but he rarely submitted his work to contests.
Japanese: 鉄斎は多くの展覧会の審査員となったが、自らは一般の展覧会に出品することはあまりなかった。
English: In 1897 and thereafter, he sent his work to the Nanga Association of Japan competition, an association for which he served as judge.
Japanese: 明治30年（1897年）以降、自らが評議員である日本南画協会に定期出品している。
English: In 1920, he submitted So Toba-zu (portrait of SoToba) in the memorial art exhibition to commemorate the 1,300th anniversary of Shotoku Taishi's death as a countenancer.
Japanese: 賛助出品という形で、大正9年（1920年）聖徳太子御忌千三百年記念美術展に「蘇東坡図」を出している。
English: Known as the last literati, Tessai called himself a scholar (Confucianist) and considered his artwork a hobby.
Japanese: 「最後の文人」と謳われた鉄斎は、学者（儒学者）が本職であると自認し、絵画は余技であると考えていた。
English: He had often said, "I don't paint meaningless pictures," and "Look at the inscription first when you are looking at my paintings."
Japanese: また、「自分は意味のない絵は描かない」「自分の絵を見るときは、まず賛を読んでくれ」というのが口癖だったという。
English: His literati works are extremely creative and unique combining many art styles, including the schools of Yamato, Kano, Rin and Otsu (named after the town of Otsu in Shiga).
Japanese: 文人画を基本に、大和絵、狩野派、琳派、大津絵など様々な絵画様式を加え、極めて創造的な独自性を持っている。
English: He considered himself a literati and his free and bold style has established him in his own position, gaining high praise from critics such as Ryuzaburo UMEHARA and Hideo KOBAYASHI (critic).
Japanese: 生涯を文人として貫き、その自由で奔放な画風は近代日本画に独自の地位を築き、梅原龍三郎や小林秀雄(批評家)らが絶賛。
English: Many of his works are stored and exhibited in the Tessa Museum at the Kiyoshikojin Seicho-ji Temple, Takarazuka City and the Tatsu-uma Collection of Fine Arts in Nishinomiya City in Hyogo Prefecture.
Japanese: 兵庫県宝塚市の清荒神清澄寺の鉄斎美術館と、西宮市の辰馬考古資料館に多くの作品が収蔵されている。
English: Abe no Nakamaro Meishu Bogetsu-zu (The Poet Abe Nakamaro Contemplating the Moon in China), Entsu Daishi Gomon Insei-Zu (1914) (National Important Cultural Asset) Tatsuuma Collection of Fine Arts
Japanese: 「阿倍仲麻呂明州望月図」「円通大師呉門隠栖図」（1914年）（国の重要文化財）辰馬考古資料館蔵
English: Ninsei NONOMURA (野々村仁清: date of birth and date of death are unknown) is a potter in the early Edo Period.
Japanese: 野々村仁清（ののむら　にんせい、生没年不詳）は、江戸時代前期の陶工。
English: It is said that when he was young, he got his training in pottery at Awataguchi and Seto, and later he returned to Kyoto and built his own kiln in front of the Omuro Ninna-ji Temple.
Japanese: 若い頃は粟田口や瀬戸で陶芸の修業をしたといわれ、のち京都に戻り、御室（おむろ）仁和寺の門前に窯を開いた。
English: Before the Middle Ages, potters were nothing but nameless artisans, however, he placed a seal of his name 'Ninsei' to his works to announce that they were his own works.
Japanese: 中世以前の陶工は無名の職人にすぎなかったが、仁清は自分の作品に「仁清」の印を捺し、これが自分の作品であることを宣言した。
English: In that context, it can be said that Ninsei was the first potter who had a sense of being a 'creator' or 'artist' according to the modern meaning.
Japanese: そうした意味で、仁清は近代的な意味での「作家」「芸術家」としての意識をもった最初期の陶工であるといえよう。
English: The existent tea-leaf jars show his impressively refined wheel technique to make a big-sized work with thin uniformed thickness walls without fail.
Japanese: 現存する茶壺などを見ても、大振りの作品を破綻なく均一な薄さに挽きあげる轆轤技には感嘆させられる。
English: He was also good at sculptural works such as 'Iro-e Kiji Koro' (Incense burner in the shape of pheasant decorated with overgraze enamels) and 'Horagai-gata KORO' ('Incense burner in the form of a conch shell).
Japanese: また、有名な「色絵雉香炉」や「法螺貝形香炉」のような彫塑的な作品にも優れている。
English: The existent tea-leaf jars by Ninsei are stereoscopically decorated on the all the facet of the ceramics, with picturesque gorgeous illustrations painted with the multicolored overgraze enamels including the pigments of gold and silver.
Japanese: 現存する仁清作の茶壺は、立体的な器面という画面を生かし、金彩・銀彩を交えた色絵で華麗な絵画的装飾を施している。
English: Korin OGATA (1658 - July 20, 1716) was an artist in the Edo Period.
Japanese: 尾形光琳（おがたこうりん、万治元年（1658年）-享保元年6月2日(旧暦)（1716年7月20日））は、江戸時代の画家。
English: He is a representative artist of the Rin school of painting, who excelled in large decorative pictures.
Japanese: 後世「琳派」と呼ばれる、装飾的大画面を得意とした画派の代表的画家である。
English: He had rich clients in Kyoto, and learned the classics of the Dynastic Period leaving behind many lucid and decorative works.
Japanese: 主に京都の富裕な町衆を顧客とし、王朝文化時代の古典を学びつつ、明快で装飾的な作品を残した。
English: His extraordinary sense of design brought about the term Korin Moyo (Korin Pattern), which significantly influenced Japan's current-day paintings, craftwork and design.
Japanese: その非凡なデザイン感覚は「光琳模様」という言葉を生み、現代に至るまで日本の絵画、工芸、デザイン等に与えた影響は大きい。
English: His works include huge folding screens, and smaller works such as incense wrappings, folding fans and round uchiwa fans, as well as hand-painted Kosode kimono and makie, a Japanese lacquering technique employing sprinkled silver and gold powders and filings.
Japanese: 大画面の屏風のほか、香包、扇、団扇などの小品も手掛け、手描きの小袖、蒔絵などの作品もある。
English: His creative activities are varied, including pictures drawn on ceramic ware made by his younger brother, Kenzan OGATA.
Japanese: また、実弟の尾形乾山の作った陶器に光琳が絵付けをするなど、その制作活動は多岐にわたっている。
English: Korin was born the second son of Soken OGATA who ran a kimono shop, Kariganeya, in Kyoto, in 1658.
Japanese: 光琳は万治元年（1658年）、京都の呉服商「雁金屋」の当主・尾形宗謙の次男として生まれた。
English: At about that time, management of the Kariganeya was on the verge of bankruptcy; yet, being a philanderer by nature, Korin spent days pursuing pleasure and squandering the huge sum he had inherited, and ended up borrowing money from his younger brother, Kenzan.
Japanese: その頃、雁金屋の経営は破綻していたが、生来遊び人であった光琳は遊興三昧の日々を送って、相続した莫大な財産を湯水のように使い果たし、弟の尾形乾山からも借金するようなありさまであった。
English: It was this financial necessity that forced him to devote time to artistic work in his 40s.
Japanese: 40代になって画業に身を入れ始めたのもこうした経済的困窮が一因であった。
English: His style is varied with huge decorative folding screen painting to water ink painting, and all of his works were overflowing with sophisticated design.
Japanese: 大画面の装飾的な屏風絵から、水墨画まで作風は多彩だが、どの作品にも都会的センスとデザイン感覚があふれている。
English: He exerted his talent in wide areas: from sometimes working together with his brother, Kenzan, drawing on ceramic ware he made, and designing kosode kimono and lacquer ware.
Japanese: 弟の乾山との合作による陶器の絵付け、手描き小袖の絵付け、漆工芸品のデザインに至るまで、幅広くその才能を発揮している。
English: It is said that Koreharu, an ancestor of the Ogata family was a high ranking samurai serving Yoshiaki ASHIKAGA; however, the truth is still unknown.
Japanese: 尾形家の祖先伊春は、足利義昭に仕える上級武士であったといわれるが、正確なところはわからない。
English: Dohaku's wife was Koetsu HONAMI's older sister, meaning that Koetsu and Korin were distantly related.
Japanese: 道柏の夫人は本阿弥光悦の姉であり、光悦と光琳は遠い姻戚関係にあることになる。
English: During the time the Kariganeya was managed by Sohaku, the business delivered goods to Masako TOKUGAWA (the daughter of Hidetaka TOKUGAWA and the wife of Emperor Gomizunoo).
Japanese: 呉服商雁金屋は宗柏の時代には徳川和子（徳川秀忠娘、後水尾天皇中宮）の用を務めるようになった。
English: Sohaku's youngest child, Soken OGATA (1621 - 1687), was the father of Korin and Kenzan, who inherited the Kariganeya business.
Japanese: 宗柏の末子で、雁金屋の後継ぎとなったのが光琳・乾山兄弟の父である尾形宗謙（1621-1687）であった。
English: His brother, five years his junior, Gonpei, later called Kenzan, is known to have been a painter and potter.
Japanese: 5歳下の弟・権平が後に画家、陶芸家として知られるようになる乾山である。
English: Korin was born into a family that dealt with kimono fabric, a business on the cutting edge of fashion, and he favored Noh, the Tea Ceremony and Calligraphy.
Japanese: 当時のファッションの先端であった呉服商に生まれた光琳は、少年時代から能楽、茶道、書道などに親しんだ。
English: He is thought to have studied under Soken YAMAMOTO of the Kano School, yet the period in which he received his teaching is unknown.
Japanese: 絵は狩野派の流れをくむ山本素軒に師事したとされるが、その時期等はくわしくわかっていない。
English: The management of the Kariganeya was falling into decline after the death of their biggest client Tofukumonin (another name for Masako TOKUGAWA) in 1658.
Japanese: 雁金屋の経営は、最大の得意先であった東福門院の死去（延宝6年・1658年）を期に傾きつつあった。
English: The management had expanded into money lending to feudal lords, accepting rice as collateral, most of which became irrecoverable, accelerating the decline of the family business.
Japanese: また、米を担保に大名に金子を融資する「大名貸し」を行って、その多くが貸し倒れになったことも雁金屋の経営悪化に拍車をかけた。
English: In 1687, when Korin was 30 years old, his father, Soken, died and the family business was taken over by his older brother Tozaburo.
Japanese: こうした中で光琳30歳の貞享4年（1687年）、父宗謙が死去し、家業は光琳の兄が藤三郎が継ぐことになった。
English: The reason Korin began working on his art was to mainly supplement the family's income, which dropped significantly as the struggling family business declined.
Japanese: 光琳が画業に精を出すようになったのは、家業の経営難で激減した収入を絵で補うという面が大きかった。
English: Korin's name begins to surface in historical documents after he reaches 35 years of age in 1692.
Japanese: 「光琳」の名が史料上確認できるのは35歳の（1692年）が初見である。
English: In 1701, when he was 44 years old, he was made Hokyo (a rank in the priesthood that was given to higher-order priests; later, however, the rank was also awarded to painters and Buddhist sculptors).
Japanese: 44歳の元禄14年（1701年）には法橋の位を得ている（「法橋」は本来は高僧に与えられる僧位の1つだが、後に絵師、仏師などにも与えられるようになった）。
English: There are very few works by Korin that can be dated; however, many of his works are signed and sealed as Hokyo Korin, suggesting that his works were mostly created ove a period of a little more than 10 years, between the time he bacame a Hokyo at the age of 44 and his passing at the age of 59.
Japanese: 光琳の作品には制作年代を確定できるものは少ないが、多くの作品に「法橋光琳」の落款（サイン）が見られることから、彼が本格的な絵画を制作したのは法橋位を得た44歳以後、59歳で没するまでの十数年間であると推定されている。
English: One of Korin's famous works, Kakitsubata-zu (Irises) drawn on a folding screen, is considered to be one of his early works.
Japanese: 光琳の代表作の1つである『燕子花図（かきつばたず）』屏風は、彼の作品中、比較的初期ものとされている。
English: This folding screen is also signed and sealed with Hokyo Korin, but the predominant theory is that Hokyo was added later by someone else, suggesting that Kakitsubata-zu was created before Korin became Hokyo.
Japanese: この屏風には「法橋光琳」の落款があるが、「法橋」の2字は別人による書き入れとする説が有力で、この説にしたがえば、『燕子花図』は光琳の法橋位受領以前の作品となる。
English: Records show that Korin often visited the residence of Tsunahira NIJO, one of the five families (Gosekke) whose members were eligible for the positions of Sessho and Kanpaku, regent or chief adviser to the Emperor, and Tsunahira's recommendation is said to have greatly affected Korin's receiving the title of Hokyo.
Japanese: 五摂家の1つ、二条家の当主で摂政・関白を務めた二条綱平の屋敷にはたびたび出入りしていることが記録からわかり、前述の法橋位が与えられたのも、綱平の推挙によるところが大きかったと推測されている。
English: He was also acquainted with Kuranosuke NAKAMURA (1669 - 1730), a rich man who was an official at the mint in Ginza in Kyoto.
Japanese: また、京都の銀座(歴史)（貨幣鋳造所）の役人で裕福であった中村内蔵助（1669-1730）とも親交があった。
English: She later married Korin's son, suggesting that there was more to their relationship than just patroninzation and support.
Japanese: その娘は後に光琳の息子と結婚するなど、光琳と内蔵助の関係は単なるパトロン、援助者という以上のものがあったようである。
English: In the book written by Taichiro KOBAYASHI, Korin and Kenzen (Image of Men in the World, Volume 7) (Kadokawa Shoten Publishing), he asserted that "there is no doubt that Kuranosuke and Korin were lovers."
Japanese: 小林太市郎は、「光琳と乾山」（『世界の人間像』第7巻、角川書店）の中で、「内蔵助が光琳の愛人たることは毫もうたがう余地がない」と断定した。
English: Korin went to Edo in 1704 to be with Kuranosuke NAKAMURA, who was assigned to a post in Edo.
Japanese: 光琳は江戸詰となった中村内蔵助を頼り、宝永元年（1704年）頃、江戸へ下った。
English: In Edo, he received assistance from the Sakai family, head of the Himeji clan, and also had a connection to the Tsugaru clan, as well as wealthy merchants such as Mitsui, Sumitomo and Fuyuki (merchant in Edo, Fukagawa) families.
Japanese: 江戸では姫路藩主酒井家から扶持（ふち）を得、また、津軽氏や豪商の三井家、住友家、冬木家（江戸深川の豪商）などともつながりがあった。
English: Fuyuki Kosode kimono (Tokyo National Museum collection), of which Akikusa Monyo (pattern based on flowering plants of autumn) was hand painted by Korin, has been handed down for generations in the Fuyuki family, and the Red and White Plum Blossoms folding screen (MOA Museum of Art Collection) has been handed down in the Tsugaru family.
Japanese: 現存する「冬木小袖」（東京国立博物館蔵）は、光琳が手描きで秋草文様を描いた小袖で、冬木家に伝来したものであり、『紅白梅図』屏風（MOA美術館蔵）は津軽家に伝来したものである。
English: Korin lived in Edo for about 5 years before returning to Kyoto in 1709.
Japanese: 光琳は5年ほど江戸に滞在した後、宝永6年（1709年）に京都へ戻っている。
English: In 1711, he moved to Shinmachi-dori, Nijo-kudaru (East of Nijo Castle) and continued his creative work.
Japanese: 正徳元年（1711年）には京都の新町通り二条下ル（二条城の東方）に新居を構え、ここで制作した。
English: There are documents related to this residence such as the original floor plan, and this residence was reconstructed at the MOA Museum of Art site in Atami City, Shizuoka Prefecture.
Japanese: この屋敷については建築当時の図面等の資料が残されており、静岡県熱海市のMOA美術館構内に「光琳屋敷」として復元されている。
English: One of Korin's famous works the Red and White Plum Blossoms folding screen is considered a late work and created in his studio on the second floor of this residence.
Japanese: 光琳の代表作の1つである『紅白梅図』屏風は晩年の作とされ、この屋敷の2階の画室で描かれたと推定される。
English: In 1713, 3 years before his death, he wrote a letter (or a will) to his oldest son, Juichiro, which stated, "No family business to pursue."
Japanese: 死の3年前の正徳3年（1713年）には、長男の寿市郎に宛てて譲状（遺書に相当する）を書いているが、その文中に光琳は「相究タル家業モ無之（これなく）」と書いている。
English: This letter suggests that Korin did not consider his art work a family business, and because there was no established business to leave to his son, he had decided to send Juichiro to another merchant family to be adopted.
Japanese: このことから、光琳が画業を「家業」と見なしておらず、しっかりした家業がないため、息子の寿市郎を他家へ養子に出す決心をしたことがわかる。
English: There exists a large volume of documents and data regarding Korin and the Kariganeya within the Konishi family, into which Juichiro was adopted.
Japanese: 光琳の長男・寿市郎の養子先の小西家には、光琳および雁金屋に関する文書・史料がまとまって保管されていた。
English: These documents are designated important cultural property as the 'documents related to Korin Ogata' (some are in the collection of the Osaka Municipal Museum of Art, and some maintained in the Agency for Cultural Affairs).
Japanese: これらは「尾形光琳関係資料」として重要文化財に指定されている（大阪市立美術館と文化庁に分かれて所蔵）。
English: Included in this collection are wills written by Korin and Korin's father, Soken, Korin's sketchbook Choju Shaseicho (Sketchbook of birds and animals), other sketches, and a collection of designs, which are important data in the study of Korin's life and work.
Japanese: この中には光琳の父・宗謙の遺書、光琳本人の遺書などの文書類のほか、『鳥獣写生帖』などの光琳の写生帖、画稿、意匠図案集などが多数含まれており、光琳の生涯および作品を研究するうえで貴重な資料である。
English: Among the sketches are sketches of beautiful women-- a rare form of work by Korin.
Japanese: 画稿の中には光琳の作品としては唯一のものとされる美人図が含まれていることも注目される。
English: Most of Korin's works do not show a definite date and the dates of most of his works are inferred from the signatures and seals on the works.
Japanese: 光琳の作品には、制作年代のはっきりわかる作品は少なく、画風や、画面に捺されている印章などから制作年が推定されている。
English: Sotatsu TAWARAYA, whose date of birth and death are unknown, is admired as much as Korin; but there seems to have been no teacher-student relationship between them.
Japanese: 光琳と並び称される俵屋宗達は、生没年未詳の人物で、直接的な師弟関係はない。
English: However, some of Korin's paintings, such as the Fujin Raijin-zu (Wind God and Thunder God Screen) and Maki Kaede-zu (picture of Chinese black pine and maple trees), are based on Sotatsu's original drawing, and there is no doubt that Korin had consciously learned from Sotatsu.
Japanese: しかし、光琳の絵には『風神雷神図』『槙楓図』のように宗達の原画に基づいて描かれたものがあることから、光琳が宗達に学ぶ意識のあったことは間違いない。
English: Fujin Raijin-zu (Wind God and Thunder God Screens, two panel screen), Tokyo National Museum (Important Cultural Property) - Work copying the work of Sotatsu TAWARAYA
Japanese: 風神雷神図　二曲屏風東京国立博物館蔵（重要文化財）-俵屋宗達の作品を模したもの。
English: Maki Kaede-zu (picture of Chinese black pine and maple trees, one of six fold screen), The University Art Museum, Tokyo University of the Arts, (Important Cultural Property)
Japanese: 槙楓図（まきかえでず）　六曲屏風一隻東京藝術大学大学美術館蔵（重要文化財）
English: Yatsuhashi Makie Raden Suzuribako (Writing Box with Eight Bridges), Tokyo National Museum (National Treasure)
Japanese: 八橋蒔絵螺鈿硯箱（やつはしまきえらでんすずりばこ）　東京国立博物館蔵（国宝）
English: It has long been believed that the kinji (gold background) of the Red and White Plum Blossoms was created through the application of gold foil; however, examination using fluorescence X-ray by the National Research Institute for Cultural Properties in Tokyo from 2003 to 2004 revealed that gold foil was not used.
Japanese: 『紅白梅図』屏風の金地（金色の背景）は、金箔を貼ったものと長年信じられてきたが、2003年から翌年にかけての東京文化財研究所の蛍光X線による調査の結果、金箔は使用されていないことが判明した。