nntsuzu/KFTT huggingface dataset:
English: Masters in the Tang dynasty did not learn to get enlightenment from anybody - not to mention Siddhartha Gautama (Buddha, Shakuson), who gained enlightenment without a teacher.
Japanese: 師を持たずに悟りを得たゴータマ・シッダッタ（仏陀、釈尊）を持ち出すまでもなく、唐代の祖師たちは、師匠から教わって悟ったのではないのである。
English: While it is impossible to define enlightenment with words, words are one of many methods that can describe the boundaries of enlightenment.
Japanese: 悟りを言葉により定義することは出来ないが、言葉を始めとしていろいろな方法で悟りの境地を表現することはできる。
English: That is why, especially after it was brought to Japan, enlightenment has been expressed through artistic expression such as poetry and painting, so that one can get a taste of its aroma.
Japanese: そのため特に日本に伝わった後、詩や絵画を始めとした芸術的な表現の上に悟りが表現されており、その香りを味わうことができる。
English: Other than in art, it is also expressed in deportments such as tea ceremony and flower arrangement; and methods to get a taste of the world of enlightenment have also been born.
Japanese: 芸術以外にも、茶道や華道を始めとした振舞いなどにも表現されており、振舞いをたどることによって、悟りの世界を味わうという手段も生まれている。
English: The Koan system came together after the Song dynasty, and though they might be fabricated it has made even more enlightenments possible.
Japanese: 宋代以降公案体系がまとめられ、擬似的かもしれないが更に多くの悟りを起こすことを可能にした。
English: Most Koan are made up of conversations between a master and disciple, telling the truth of the moment when the disciple gained enlightenment.
Japanese: 公案とは、主に師と弟子の間の会話で構成され、弟子が悟りを得る瞬間の事実を伝える話が多い。
English: Koan cannot be received with logical, intellectual understanding, and are stories beyond logic that can be understood only by completely becoming the Koan itself instead of thinking.
Japanese: また公案とは論理的、知的な理解を受け付ける事が出来ない、論理を超えた話であり、考えることではなく、公案になり切ることを通してのみ知ることができる。
English: The Koan system was established by collecting these Koan stories as a method for leading disciples and was composed of 500 to 1900 Koan stories.
Japanese: これらの公案を弟子を導く手順としてまとめたのが公案体系であり、500から1900の公案により構成される。
English: As the background, any Buddhist knows that "all living things have Buddha-nature."
Japanese: この背景には、仏教では誰でも知っている「全ての生き物は仏性を持っている」という知識がある。
English: The sect began when Eisai came back from Southern Song China in 1202.
Japanese: 1202年（建仁2年）、中国・南宋に渡って帰国した栄西により始まる。
English: The sect was established by Douryuu RANKEI in 1253, who was invited from Southern Song China by Tiyori HOJOU, the 5th regent of the Kamakura Shogunate.
Japanese: 1253年、鎌倉幕府五代執権・北条時頼が中国・南宋から招いた蘭渓道隆により始まる。
English: Kencho-ji was the first Zen temple that opened the first pure Zen training hall in Japan, with more than 1,000 monks training there at one time.
Japanese: 建長寺は日本で初めて純粋な禅の道場が開かれた日本で最初の禅寺で、一時は1000人以上の禅僧が修行をしていた。
English: Enkaku-ji Temple was passed from Sogen MUGAKU to Kennichi KOUHOU and Soseki MUSOU, and was at one time the center of Japanese Zen.
Japanese: 円覚寺は、無学祖元から高峰顕日・夢窓疎石へと受け継がれ日本の禅の中心となった時期もある。
English: Daisetsu SUZUKI who introduced Zen to the West experienced Zen under the two masters, IMAKITA and Souen SHAKU as a lay buddhist.
Japanese: 禅を西洋に紹介した鈴木大拙は今北と釈宗演の両師の元に在家の居士として参禅した。
English: Head temple is Kokutai-ji (Takaoka City in Toyama Prefecture), which was rebuilt in the Meiji period by Tesshuu YAMAOKA.
Japanese: 総本山は、明治時代に山岡鉄舟の尽力で再興した富山県高岡市にある国泰寺(高岡市)。
English: Fushimi-jo Castle was originally built by Hideyoshi TOYOTOMI for his own residence after retirement.
Japanese: 伏見城は豊臣秀吉によって、自身の隠居後の居所として造られたものが初めである。
English: Construction spanning the reigns of 3 emperors, it was first built on Mt. Shizuki, there called Shizuki Fushimi-jo Castle, and after an earthquake was moved to Mt. Kohata and named Kohata Fushimi-jo Castle.
Japanese: 歴代3度にわたって築城され、初めに指月山に造られたものを指月山伏見城、震災後に木幡山に移されたものを木幡山伏見城などと区別される。
English: Furthermore, there was the Kohata Fushimi-jo Castle that was built in the days of Toyotomi, and the one that was rebuilt in the Tokugawa days after being destroyed in the battle of Sekigahara.
Japanese: さらに、木幡山伏見城は創建時である豊臣期と、関ヶ原の戦災後に再建された徳川期のものに分けられる。
English: After Hideyoshi's death and in accordance with his will, Hideyori TOYOTOMI moved to Osaka-jo Castle; after which Ieyasu TOKUGAWA, leader of the council of 5 elders, moved into this castle and took over government.
Japanese: 秀吉の死後、その遺言によって豊臣秀頼は大阪城に移り、五大老筆頭の徳川家康が代わってこの城に入り政務をとった。
English: Although it was protected by Ieyasu's vassals, Mototada TORII et alia, during the Battle of Sekigahara, it was attacked and burned by Ishida (the Siege of Fushimi-jo Castle).
Japanese: 関ヶ原の戦いの際、家康の家臣鳥居元忠らが守っていたが、石田方に攻められ焼失している（伏見城の戦い）。
English: It was later rebuilt by Ieyasu; and after it was razed its structures and materials were moved to other locations.
Japanese: 後に、家康によって再建され、廃城後はその建造物及び部材が各地に移築されている。
English: That is why Fushimi-jo Castle is typically called Momoyama-jo Castle; and this is the reason why the period of Oda-Toyotomi government is called the "Azuchi-Momoyama Period" and the culture of the time called "Momoyama Culture".
Japanese: 伏見城を通称桃山城というのはこのためである（織田・豊臣政権期の時代区分「安土桃山時代」や、その文化「桃山文化」などの呼称はこの通称から取られたもの）。
English: According to the account that says the descendants of the family that reclaimed the land are the Yoshimura family, which founded Yoshimura Shuzo, they were the heads of Horiuchi Village, built on the ruins of Fushimi-jo Castle; and it is said that they transferred village land to the Imperial Household in the Meiji Period.
Japanese: また、開墾にたずさわった一族の末裔は、吉村酒造蔵元の吉村家と伝えられているによると、伏見城跡に設けた堀内村の庄屋を代々務め、明治時代に同村の土地を皇室へ寄進したとの記述がある。
English: Since the Tokugawa-era keep was moved to Nijo-jo Castle, there is a relatively large number of artifacts left; but there is much that is unclear about the previous keep.
Japanese: 徳川期の天守は二条城に移築されたため史料が比較的残っているが、それ以前の天守については不明な部分が多い。
English: 1592 - In the low-lying hills along the Uji-gawa River where Hideyoshi TOYOTOMI made his home on Mt. Shizuki in retirement, parts of the dismantled Jurakudai were transferred for the building of a castle (Shizuki-jo Castle).
Japanese: 1592年-豊臣秀吉が隠居所として宇治川沿いの低地丘陵である指月山に、後に破却した聚楽第の建物の一部を移築するなどして築城された（指月城）。
English: 1596 - Because it was destroyed in an earthquake, a new castle was built about 500 meters away on Mt. Kohata (present day Mt. Momoyama).
Japanese: 1596年-地震で倒壊したため、約500m離れた木幡山（現在の桃山）に新たに築城し直された（木幡山城）。
English: Fushimi-jo Castle's functions moved to Osaka-jo Castle after the Siege of Osaka, reducing this castle's importance in the eyes of the Edo Shogunate; and it was therefore razed in 1625 after Ieyasu TOKUGAWA's retirement.
Japanese: 大坂の役の後、伏見城の役割は大坂城へ移り、江戸幕府にとってこの城の重要性は薄れたため、徳川家康の隠居後の1625年に廃城となった。
English: 1964 - Fushimi Momoyama-jo Castle Land, an amusement park featuring a mock castle keep "Fushimi Momoyama-jo Castle", was built on the site of the Fushimi-jo Castle flower garden.
Japanese: 1964年-伏見城花畑跡に遊園地「伏見桃山城キャッスルランド」が建設され、その目玉として模擬天守「伏見桃山城」が建設された。
English: January 2003 - Fushimi Momoyama-jo Castle Land was closed as part of the restructuring of its parent company, Kintetsu Corporation.
Japanese: 2003年1月-伏見桃山城キャッスルランドが、経営母体である近畿日本鉄道のリストラの一環として閉園。
English: Fushimi Momoyama-jo Castle escaped destruction thanks to a movement by the people of Kyoto to preserve it as a symbol of Fushimi.
Japanese: 伏見桃山城は京都市民の運動によって伏見のシンボルとして保存されることとなり取り壊しを免れた。
English: October 2007 - When it was remodeled to look like Osaka-jo Castle for the filming of a period movie, "Chacha: The Woman from Far Away", the tiger decorations below the watch tower and Shachihoko were painted gold.
Japanese: 2007年10月-時代劇映画「茶々天涯の貴妃」撮影のため、望楼の下に虎の装飾や鯱を金色に塗り替えるなど大坂城に見立てて改装。
English: The most famous are Nijo-jo Castle and Jojakko-ji Temple; the turrets, castle gate, palace, bath, Tamon Yagura Turret, and earthen walls all were moved to Fukuyama-jo Castle (Bingo Province).
Japanese: 有名なものでは二条城や常寂光寺などがあり、福山城(備後国)には、櫓、城門、殿舎、湯殿、多聞櫓、土塀など特に多くの施設が移されている。
English: Note: Among these, the only ones that can be proven are the guest hall of Saikyo-ji Temple, which is the remains from Mt. Shizuki, and Fukuyama-jo Castle's Fushimi Yagura, which is left over from the Tokugawa era.
Japanese: なお、この内、移築が裏付けられているのは指月山の遺構である西教寺客殿と徳川期の遺構である福山城伏見櫓のみであることに留意されたい。
English: Movable Noh Stage - Fukuwama-jo Castle (Fukuyama City, Hiroshima Prefecture), Present-day Nunakuma-jinja Shrine (Tomonoura, Fukuyama City, Hiroshima Prefecture) (Important Cultural Property)
Japanese: 移動式能舞台-福山城（広島県福山市）、現在は沼名前神社（広島県福山市・鞆の浦）（重文）
English: The Kanoha group is the largest gaha (group of painters) in Japanese art history, and was active for about 400 years from the middle of the Muromachi period (fifteenth century) to the end of the Edo period (nineteenth century) as a group of expert painters that consistently dominated the art world.
Japanese: 狩野派（かのうは）は、日本絵画史上最大の画派であり、室町時代中期（15世紀）から江戸時代末期（19世紀）まで、約400年にわたって活動し、常に画壇の中心にあった専門画家集団である。
English: Masanobu KANO, the official painter of the Muromachi shogunate, was the earliest ancestor; his descendants worked for Nobunaga ODA, Hideyoshi TOYOTOMI and the Tokugawa Shogun as painters after the collapse of the Muromachi shogunate, consistently dominating the art world associated with the powers-that-be, thus greatly influencing Japanese art circles as a professional painter group working on works ranging from screen paintings in the Imperial Palace, castles or large temples to small paintings such as those created on fans.
Japanese: 室町幕府の御用絵師となった狩野正信を始祖とし、その子孫は、室町幕府崩壊後は織田信長、豊臣秀吉、徳川将軍などに絵師として仕え、その時々の権力者と結び付いて常に画壇の中心を占め、内裏、城郭、大寺院などの障壁画から扇面などの小画面に至るまで、あらゆるジャンルの絵画を手掛ける職業画家集団として、日本美術界に多大な影響を及ぼした。
English: The Kanoha group is a painter group mainly concerned with consanguinity such as parents or brothers; it reigned over the nation's realm of art for as long as four centuries, a period unequaled anywhere in the world.
Japanese: 狩野派は、親・兄弟などの血族関係を主軸とした画家集団で、約4世紀間の長期にわたって一国の画壇に君臨したという点で、世界的にも他にほとんど例を見ないものである。
English: Prominent painters of the Kanoha group include the founder Masanobu KANO, who worked for Yoshimasa ASHIKAGA, the eighth Seii taishogun (literally, "great general who subdues the barbarians") of the Muromachi shogunate; his heir, Motonobu KANO, a grandson of Motonobu; Eitoku KANO, who created screen paintings of the Azuchi and Osaka castles; a grandson of Eitoku, Tanyu KANO, who moved from Kyoto to Edo and supervised the creation of screen paintings of Edo Castle and Nijo Castle; Sanraku KANO, who stayed in Kyoto, thus representing a group called 'Kyo Kano.'
Japanese: 狩野派の代表的な絵師としては、室町幕府8代将軍足利義政に仕えた初代狩野正信とその嫡男・狩野元信、元信の孫で安土城や大坂城の障壁画を制作した狩野永徳、永徳の孫で京都から江戸に本拠を移し、江戸城、二条城などの障壁画制作を指揮した狩野探幽、京都にとどまって「京狩野」と称された一派を代表する狩野山楽などが挙げられる。
English: Once the structure of the Edo shogunate had become stable, the members of the Kanoha group were driven to get extensive orders done for screen paintings of the Imperial Palace and castles as the shogunate's official painters.
Japanese: 江戸幕府の体制が安定して以後の狩野派は、幕府の御用絵師として、内裏、城郭などの障壁画の大量注文をこなす必要に迫られた。
English: In order to fulfill large numbers of orders for screen paintings, the head of the Kano family needed to lead the painters so they could work in a group.
Japanese: 膨大な量の障壁画の注文に応えるため、狩野家の当主は、一門の絵師たちを率いて集団で制作にあたる必要があった。
English: Consequently, the painters of the Kanoha group needed to learn ancestral painting examples and ways of painting without expressing their individuality as painters.
Japanese: そのため、狩野派の絵師には、絵師個人の個性の表出ではなく、先祖伝来の粉本（絵手本）や筆法を忠実に学ぶことが求められた。
English: Given such an historical backdrop, it can be said that the Kanoha group after Tanyu KANO only tried to keep the tradition and maintain influence as official painters, and therefore lost its artistic drive.
Japanese: こうした時代背景から、狩野探幽以降の狩野派は伝統の維持と御用絵師としての勢力保持にもっぱら努め、芸術的創造性を失っていったという見方もある。
English: In the present day, an artist's expression of individuality and mentality is valued, so the evaluation of paintings of the Kanoha group is not necessarily high.
Japanese: 芸術家の個性の表現や内面の表出を尊重する現代において、狩野派の絵画への評価は必ずしも高いとは言えない。
English: However, it is a fact that the Kanoha group led the Japanese art world for about four centuries and that numbers of painters were developed by the group; thus one can hardly discuss the history of Japanese painting but exclude the Kanoha group, whether in positive or negative terms.
Japanese: しかしながら、狩野派が約4世紀にわたって日本の画壇をリードし、そこから多くの画家が育っていったことも事実であり、良きにつけ悪しきにつけ、狩野派を抜きにして日本の絵画史を語ることはできない。
English: It is also a fact that many Japanese painters after the early years of the modern age were influenced by the Kanoha group and started with the influence of the Kanoha group; initially, Korin OGATA, of the Rinpa group, and Okyo MARUYAMA of the Shaseiha group had learned from the Kanoha group.
Japanese: 近世以降の日本の画家の多くが狩野派の影響を受け、狩野派の影響から出発したことも事実であり、琳派の尾形光琳、写生派の円山応挙なども初期には狩野派に学んでいる。
English: The Kanoha group was founded by Masanobu KANO (c. 1434 - 1530), who worked as the official painter for the Muromachi shogunate.
Japanese: 狩野派の祖は室町幕府の御用絵師として活動した狩野正信（1434?-1530）である。
English: He lived quite long for a Japanese of the time (it is commonly believed that he died at age 97), and worked from the middle of the fifteenth century until the early sixteenth century.
Japanese: 彼は当時の日本人としては長寿を保ち（通説では97歳で没）、15世紀半ばから16世紀前半まで活動した。
English: Due to the progress of study after the late twentieth century, it is speculated that the Kano family was somehow related to the Nagao clan in Ashikaga, Shimotsuke Province (Ashikaga City, Tochigi Prefecture); and "Waterfall," an ink painting that remains at Chorin-ji Temple in Ashikaga City, is considered a relatively early work by Masanobu.
Japanese: 20世紀後半以降の研究の進展により、狩野家は下野国足利（栃木県足利市）の長尾氏と何らかの関係があったものと推定されており、足利市の長林寺に残る墨画の『観瀑図』は正信の比較的初期の作品と考えられている。
English: The first painting work recorded as having been done by Masanobu is the screen paintings he did of the Deity of Mercy and Luohan in Unchoin, Shokoku-ji Temple Tower, which he did in Kyoto at the age of 30 in 1463. This was just before the turmoil of the Onin War (1467 - 1477) (as reported in Inryoken Nichiroku (Inryoken's Diary)), which tells us that Masanobu was already working as a painter in Kyoto by that time.
Japanese: 正信の画業として記録に残る最初の事例は、応仁の乱（1467-1477）の直前の寛正4年（1463年）、30歳の時に京都の雲頂院（相国寺塔頭）に観音と羅漢図の壁画を制作したというもので（『蔭涼軒日録』所載）、この時点で正信がすでに京都において画家として活動していたことがわかる。
English: Shokoku-ji Temple, as the main temple building of Unchoin, where Masanobu created the screen paintings, is a Zendera temple constructed by Yoshimitsu ASHIKAGA, the third Shogun of the Muromachi shogunate; it is the heart of the Muromachi art world, which produced artist-monks such as Josetsu, Shubun, Sesshu; moreover, in those days Sotan (Sotan OGURI, 1413 - 1481), an artist-monk who was a disciple of Shubun, worked as an official painter.
Japanese: 正信が壁画を描いた雲頂院の本寺である相国寺は室町幕府3代将軍足利義満創建の禅寺で、如拙、周文、雪舟らの画僧を輩出した室町画壇の中心的存在であり、この当時は周文の弟子にあたる画僧・宗湛（小栗宗湛、1413-1481）が御用絵師として活動していた。
English: Although it is not exactly certain when Masanobu KANO went to Kyoto, whom he studied under and when he became the official painter for the Muromachi shogunate, it is clear (according to certain records) that Yoshimasa ASHIKAGA, the eighth Shogun of the Muromachi shogunate, gave him an important position.
Japanese: 狩野正信がいつ上京し、誰に師事し、いつ室町幕府の御用絵師となったか、正確なところは不明であるが、室町幕府8代将軍・足利義政に重用されていたことは諸記録から明らかである。
English: In 1481, a few years after the tumultuous Onin War (1467 - 1477), which had lasted for a decade, Sotan, the official painter for the Muromachi shogunate, died; thus it is thought that Masanobu KANO was appointed as the official painter for the shogunate, succeeding Sotan.
Japanese: 10年にわたった応仁の乱（1467-1477）終結の数年後の文明(日本)13年（1481年）、室町幕府の御用絵師であった宗湛が死去しており、狩野正信は、宗湛の跡を継いで幕府の御用絵師に任命されたものと思われる。
English: Subsequently, Mitsunobu TOSA, of the Yamatoe group (a style of Japanese painting) who was in the postion of Edokoro-azukari (a leader of painters who worked for the Imperial Court) of the Imperial Court, and Masanobu KANO of the Kanga (a Chinese style of painting) group, became two major forces in the art world.
Japanese: これ以後は、宮廷の絵所預（えどころあずかり）の職にあった大和絵系の土佐光信と、漢画系の狩野正信の両者が画壇の二大勢力となった。
English: In 1482, the former Shogun, Yoshimasa ASHIKAGA, started the construction of Higashiyama dono (the predecessor of Ginkaku-ji Temple), and Masanobu took charge of the screen paintings.
Japanese: 文明14年（1482年）、前将軍・足利義政は、東山殿（銀閣寺の前身）の造営を始め、正信がその障壁画を担当することとなった。
English: Following the death of Yoshimasa in 1490, Masanobu worked for the Hosokawa clan, which had political power at the time.
Japanese: 延徳2年（1490年）の義政の没後、正信は当時政治の実権を握っていた細川氏に仕えるようになる。
English: In this way Masanobu solidified his position in the art world while deepening his relationship with the powers-that-be, and built a foundation for the subsequent prosperity of the Kanoha group.
Japanese: 正信はこのように、時の権力者との結び付きを深めつつ画壇での地位を固め、後の狩野派隆盛の基礎を築いた。
English: According to records, it is known that Masanobu created works in various styles and subjects, including screen paintings and Buddhist paintings; however, all his screen paintings have been lost and the existing works are limited to small paintings such as a hanging scroll.
Japanese: 記録によれば、正信は障壁画、仏画を含め、多様な形式・題材の作品を手掛けたことが知られるが、障壁画はことごとく失われ、現存する確実な作品は掛軸などの小画面に限られている。
English: His painting style was 'kanga,' with ink painting based on the brushwork of Sung and Yuan in China, in contrast to the traditional Yamatoe of his contemporary, Mitsunobu TOSA.
Japanese: その画風は、同時代人の土佐光信の伝統的な大和絵風とは対照的に、水墨を基調とし、中国宋・元の画法を元にした「漢画」であった。
English: Although Masanobu lived until age 97, it isn't clear what work he produced during the last 30 years, and it seems he had his heir Motonobu assume the work of painting as he went into retirement.
Japanese: 正信は97歳の長寿を保ったが、晩年の約30年間の事績は明らかでなく、嫡男の元信に画業を継がせて引退生活を送っていた模様である。
English: The second generation, Motonobu KANO (1476 - 1559), who built the basis of prosperity of the Kanoha group, was the heir of Masanobu.
Japanese: 狩野派隆盛の基盤を築いた、2代目・狩野元信（1476-1559）は正信の嫡男で、文明8年（1476年）に生まれた。
English: His best existing works include the screen paintings in the hojo of Daisenin, Daitoku-ji Temple (the hojo, or chief priest's room, was completed in 1513) and another one in Reiunin, Myoshin-ji Temple in 1543 (it is widely believed that the screen paintings in Daisenin were not created at the time the hojo was completed but were done in a slightly later period).
Japanese: 現存する代表作は大徳寺大仙院方丈の障壁画（方丈は永正10年（1513年）に完成）、天文(元号)12年（1543年）の妙心寺霊雲院障壁画などである（大仙院障壁画については、方丈竣工時の作品ではなく、やや後の年代の作とする見方が有力である）。
English: The creation of the screen paintings in the hojo of Daisenin was divided among Soami, Motonobu and his brother Yukinobu KANO, depending on the room; accordingly, Motonobu took charge of "Four Seasons, Flowers and Birds" in 'Danna no Ma' and "Founder of the Zenshu sect" in 'Ihatsu no Ma.'
Japanese: 大仙院方丈障壁画は相阿弥、元信と弟・狩野之信が部屋ごとに制作を分担しており、元信が担当したのは「檀那の間」の『四季花鳥図』と、「衣鉢の間」の『禅宗祖師図』などであった。
English: "Founder of Zenshu sect" is a typical ink painting, while "Four Seasons, Flowers and Birds" is based on ink and shows a new flavor at the same time, as it uses colors only on the flowers and birds.
Japanese: このうち、『禅宗祖師図』は典型的な水墨画であるが、『四季花鳥図』は水墨を基調としつつ、草花や鳥の部分にのみ濃彩を用いて新しい感覚を示している。
English: Motonobu strengthened the ties with the Ashikaga Shogun and the Hosokawa clan as the powers-that-be, had numerous disciples and consolidated the basis of the Kanoha as a group of painters.
Japanese: 元信は時の権力者であった足利将軍や細川家との結び付きを強め、多くの門弟を抱えて、画家集団としての狩野派の基盤を確かなものにした。
English: He accepted orders from court nobles, temples and shrines as well as samurai families; and as for temples and shrines it is known that he created the screen paintings of Ishiyama Hongan-ji Temple in Osaka according to the historical record, but this no longer exists.
Japanese: 武家だけでなく、公家、寺社などからの注文にも応え、寺社関係では、大坂にあった石山本願寺の障壁画を元信が手掛けたことが記録から分かっているが、これは現存しない。
English: Because Motonobu referred to himself as 'Echizen no kami' in his later life, he was given a priestly rank called 'Hogen' however, for posterity he has been referred to as 'Kohogen' or 'Echizen Hogen.'
Japanese: 元信は晩年には「越前守」を名乗り、また「法眼（ほうげん）」という僧位を与えられたことから、後世には「古法眼」「越前法眼」などと称されている。
English: The work is wide-ranging: he created the Engi Emaki of temples and shrines, votive pictures, gilded folding screens in the Yamatoe style, and portraits as well as screen paintings.
Japanese: 作品のレパートリーは幅広く、障壁画のほか、寺社の縁起絵巻、絵馬、大和絵風の金屏風、肖像画なども手掛けている。
English: Motonobu assumed the Yamatoe painting style in Kanga and ink painting (in which his father Masanobu specialized); he specialized in large decorative paintings such as a Fusuma (Japanese sliding door) and a folding screen, and built a foundation for the style of the Kanoha group.
Japanese: 元信は父正信の得意とした漢画、水墨画に大和絵の画法を取り入れ、襖、屏風などの装飾的な大画面を得意とし、狩野派様式の基礎を築いた。
English: He is also called the founder of the early modern screen paintings as he established the concept of calligraphy painting styles such as Shintai (standard style), Gyotai (semi-cursive style), and Sotai (cursive style).
Japanese: また、書道の楷書、行書、草書にならって、絵画における「真体、行体、草体」という画体の概念を確立し、近世障壁画の祖とも言われている。
English: Motonobu had three sons: Munenobu, Hideyori and Naonobu; Naonobu (1519 - 1592); the first, Munenobu, died young, and the third son Naonobu succeeded as the head of family.
Japanese: 元信には宗信、秀頼、直信の3人の男子があったが、長男の宗信は早世したため、宗家を継いだのは三男の直信（1519-1592）であった。
English: Naonobu is widely known as Shoei KANO (his posthumous name), and he was active from the Muromachi period to the Momoyama period.
Japanese: 直信は、道名の狩野松栄の名で広く知られ、室町から桃山に至る時代に活動した。
English: Although he participated in the creation of the screen paintings for the Ishiyama Hongan-ji Temple with his father Motonobu as well as in the creation of the screen paintings for the Jukoin, Daitoku-ji Temple with his son Eitoku, he was a less famous artist because his father Motonobu and his son Eitoku were more prominent.
Japanese: また、父・元信とともに石山本願寺障壁画制作に参加しており、大徳寺聚光院（じゅこういん）障壁画制作には息子の永徳とともに参加しているが、父・元信と息子・永徳がそれぞれに高名であるために、やや地味な存在となっている。
English: Eitoku KANO (1543 - 1590), the heir of Shoei, is also called Kuninobu; he is one of the most distinguished painters of the Japanese art world from the Momoyama period.
Japanese: 松栄の嫡男・狩野永徳（1543-1590）は州信（くにのぶ）とも称し、桃山時代の日本画壇を代表する人物である。
English: Although he created numbers of screen paintings in strict compliance with the plans of the men in power who had survived wild times--including Nobunaga ODA and Hideyoshi TOYOTOMI--these paintings were lost with the buildings, so relatively few of Eitoku's works remain in existence.
Japanese: 織田信長、豊臣秀吉といった乱世を生き抜いた権力者の意向に敏感に応え、多くの障壁画を描いたが、これら障壁画は建物とともに消滅し、現存する永徳の作品は比較的少ない。
English: The paintings on the partitions in the hojo of Jukoin, Daitoku-ji Temple (which are among his best existing works) were created by Eitoku together with his father Shoei; however, Shoei had Eitoku take charge of Fusumae of the major room in the south front of the hojo, while he took a supporting role.
Japanese: 現存する代表作の一つである大徳寺聚光院方丈障壁画は永徳と父・松栄の分担制作であるが、父・松栄は方丈南側正面の主要な部屋の襖絵を息子の永徳にまかせ、自分は脇役に回っている。
English: In the days of feudal society it was a common practice that the head of a family would create Fusumae in the major room, so it is historically believed that, at the time such paintings were created, Shoei had already retired after transferring the family estate to Eitoku, who was a great talent.
Japanese: 封建社会の当時にあっては、家門の長が主要な部屋の襖絵を描くのが常識であり、この障壁画制作時には松栄は才能豊かな永徳に家督を譲って、自身はすでに隠居の身であったと考証されている。
English: "Flowers and Birds" in Shitchu (the center front room of Hojo) is very highly acclaimed among the screen paintings of Hojo of Jukoin.
Japanese: 聚光院方丈障壁画のうち、室中（しっちゅう、方丈正面中央の部屋）を飾る『花鳥図』は特に評価が高い。
English: Subsequently, Eitoku became involved in the creation of the screen paintings in Azuchi Castle Tower, which Nobunaga ODA constructed during the period from 1576 to 1579.
Japanese: その後、永徳は天正4-7年（1576-1579年）、織田信長が建立した安土城天守の障壁画制作に携わった。
English: He created screen paintings in the Osaka Castle of Hideyoshi TOYOTOMI and Jurakudai after Nobunaga died, and in his later years also became involved in creating the screen paintings in the Imperial Palace.
Japanese: 信長亡き後は豊臣秀吉の大坂城や聚楽第の障壁画を制作し、晩年には内裏の障壁画制作にも携わった。
English: These works were highly acclaimed for their originality in the journals and records of the time, so they would be Eitoku's best works if they existed; however, these paintings were lost with the buildings.
Japanese: これらの作品群は、当時の日記や記録類にその斬新さを高く評価されており、現存していれば永徳の代表作となったであろうが、建物とともに障壁画も消滅してしまった。
English: As Eitoku's existing best works, the screen paintings in the hojo of Jukoin, as previously described, are renowned as well as "Foo dogs, folding screen" as former imperial property, and "Urban and suburb of Kyoto, folding screen," as handed down through the Uesugi clan; it has also been said that "Cypress, folding screen" in the Tokyo National Museum was painted by Eitoku.
Japanese: 現存する永徳の代表作としては、前述の聚光院方丈障壁画のほか、旧御物の『唐獅子図屏風』、上杉氏伝来の『洛中洛外図屏風』が名高く、東京国立博物館の『檜図屏風』も古来永徳筆と伝えるものである。