nntsuzu/KFTT huggingface dataset:
English: Their performance style was described as "samurai-fashioned," "simple," and "dynamic," and their style was adopted by daimyo (Japanese feudal lords) in many domains such as the Tsugaru Domain, the Sendai Domain, the Mito Domain, the Hikone Domain (the Ii family), the Kishu Domain, the Hiroshima Domain, the Matsuyama Domain, the Fukuoka Domain, and the Kumamoto Domain (the Hosokawa family).
Japanese: 武士気質で素朴かつ豪放な芸風で、大名（津軽藩、仙台藩、水戸藩、彦根藩（井伊氏）、紀州藩、広島藩、松山藩、福岡藩、熊本藩（細川氏）等）にも採用された。
English: After the Tokugawa shogunate was collapsed, the school faced with the threat of extinction for a while, but the school eventually survived because of a great performer named Roppeita KITA (the 14th generation), who appeared during the crisis.
Japanese: 徳川幕府瓦解後、一時は廃絶の危機に瀕するが、喜多六平太(14世)という名人が登場し、流派は生きながらえた。
English: Former feudal lords from the Asano family, the Ii family, the Todo family, and the Yamauchi family also supported the school, and other local Noh actors of the Kita school made efforts to maintain the school.
Japanese: また浅野家、井伊家、藤堂家、山内家等の旧藩主の協力や、喜多流に属する地方の能楽師たちも流派の存続に尽力した。
English: Minoru KITA, Tokuzo GOTO were great actors of this school of the Taisho and the Showa periods, and after them, other masters such as Kikuo TOMOEDA, Akiyo TOMOEDA (Kikuo and Akiyo are father and son), Kikuo AWAYA, and Akio SHIOTSU appeared from this school.
Japanese: 大正・昭和期の名人として喜多実、後藤得三ついで友枝喜久夫・友枝昭世親子、粟谷菊生、塩津哲生らが知られている。
English: The Kita school, whose current headman is Roppeita KITA (the 16th generation), is currently disconnected with the school's shokubunkai (gathering of a school's occupational branch family).
Japanese: 現宗家は喜多六平太(16世)であるが、現在喜多流は職分会が宗家と絶縁状態にある。
English: The shokubunkai has called themselves Kita-ryu Shokubunkai and developed their own activities separately from the Kitakai (literally, "Kita group"), which is operated by the head family, since 1998.
Japanese: 職分会は1998年より宗家主宰の喜多会を離れて喜多流職分会として活動している。
English: Additionally, the head family ended up in court for a conflict over apportionment of the property left by the previous headman, and they were sentenced to sell inherited costumes and masks and apportion the proceeds of the sale among the family members of the deceased at the first and the second trials.
Japanese: また宗家は先代の遺産分割を巡って訴訟が発生し、1審、2審では装束や面などを売却してその代金を遺族で分割するとの判決が出た。
English: In 2006, they were sentenced to apportion actual articles among the family members based on estimated values of these articles at the Supreme Court.
Japanese: 2006年の上告審判決では、これらの金銭的価値を見積もった上での現物分与が命じられた。
English: According to a legend, the founder was said to be HATA no Kawakatsu, who was a retainer of Prince Shotoku, but in actual fact, the origin of the school is considered to have been from the Enmani troupe, one of the four Sarugaku groups from Yamato (Yamato Sarugaku yoza) that served the Kasuga Taisha Shrine and the Kofuku-ji Temple in Nara in the early Muromachi period.
Japanese: 伝説の上では聖徳太子に近侍した秦河勝を初世としているが、実質的には室町時代前期に奈良春日大社・興福寺に奉仕した猿楽大和四座の一、円満井座に端を発すると考えられている。
English: The basic methods of the school were established by Bishao Gon no Kami, who was a particularly standout Tayu (leading actor in a Noh play) in the troupe, and his son Gon no Kami Konparu, then went through a dramatic deepening at the time of Gon no Kami's grandson, Zenchiku KONPARU (the fifty-seventh head of the school).
Japanese: 特に同座の中心的な太夫として活躍した毘沙王権守、およびその子金春権守が流儀の基礎を築き、権守の孫金春禅竹（五十七世宗家）にいたって飛躍的な深化を遂げた。
English: Zenchiku wrote/composed "Meishuku shu" based on the stories that had been handed down in his family, and described the origins of sarugaku in it.
Japanese: 禅竹は、自家に伝わる伝承を基に『明宿集』を物し、猿楽の創始について述べている。
English: According to 'Meishuku shu', the founder of sarugaku (the prototype of the Noh play and kyogen farce) in Japan is said to have been HATA no Kawakatsu, a court favorite of Prince Shotoku.
Japanese: 「明宿集」によれば、日本における猿楽の創始者は聖徳太子の寵臣・秦河勝であったとされる。
English: While Kawakatsu followed the prince and rendered distinguished services such as destroying Moriya MONONOBE, he also performed some sarugaku plays to pray for a period of peace and tranquility under the prince's rule.
Japanese: 河勝は太子に従って物部守屋討伐などに功を挙げる一方、太子に命じられて猿楽の技を行い、天下の太平を祈願した。
English: After that, it is said that the youngest son among the three sons of Kawakatsu carried on the art of sarugaku and handed it down from generation to generation, and their descendant HATA no Ujiyasu performed 'Okina' (old man) at the Shishinden (The Throne Hall) in the reign of Emperor Murakami.
Japanese: その後河勝の三人の子のうち、末子が猿楽の芸を引き継ぎ、代々継承したといい、村上天皇の代にはその末裔・秦氏安が紫宸殿で「翁」を演じた。
English: It is said that this Ujiyasu became the restorer of the Enmani troupe, and that his successors, from generation to generation up to Zenchiku, played a major role as sarugaku performers.
Japanese: この氏安が円満井座の中興の祖となり、以下禅竹に至るまで代々猿楽の徒として活躍したという。
English: The Konparu and Kongo schools were based in Nara for a long time, and remained there even after Kanami and others moved on to Kyoto, but they were gradually expanding into Kyoto since the days of Zenchiku.
Japanese: 金春流と金剛流は、観阿弥らが京都に進出したのちもながらく奈良を本拠地とし、そこにとどまっていたが、禅竹のころから徐々に京都に進出していった。
English: Zenchiku, who had studied under Zeami and become his son-in-law, inherited books of secrets such as 'Shugyoku Tokka (Finding Gems and Gaining the Flower)' and 'Kakyo (A Mirror Held to the Flower)' from Zeami, and his performances became popular among men of letters of the time.
Japanese: 世阿弥に師事し、その娘婿となった禅竹は、世阿弥から「拾玉得花」「花鏡」等の伝書を相伝するとともに、その演技によって当時の知識人たちから人気を集めた。
English: Zenchiku was also a great playwright and produced a series of excellent works such as 'Teika', 'Basho' and 'Kakitsubata', which are still performed today.
Japanese: また禅竹は作能にもすぐれた手腕を見せ、「定家」「芭蕉」「杜若」など現在でも演じられる佳曲を次々と生みだした。
English: Furthermore, he also greatly influenced future generations in the field of treatises on art centered on 'the theory of Rokurin ichiro' (The Six Wheels and the Dew Drop).
Japanese: さらに「六輪一露の説」を中心とする芸論においても後代に大きな影響を与えた。
English: In the sarugaku world after Zeami's death, the Konparu school with Zenchiku as the central figure became widely popular and extremely powerful.
Japanese: このように世阿弥没後の猿楽にあって、禅竹を中心とする金春流はひろい人気を集め、大勢力となった。
English: Zenpo KONPARU (the fifty-ninth head), the grandson of Zenchiku, played an especially important role during this period.
Japanese: この時期特に活躍した人物としては禅竹の孫にあたる金春禅鳳（五十九世宗家）がいる。
English: Zenpo was the playwright who played a pivotal role in making furyu (spectacle) Noh popular, writing 'Ikuta Atsumori' and 'Hatsuyuki.'
Japanese: 禅鳳は風流能の流行を担った中心的な作者であり、「生田敦盛」「初雪」などを書いた。
English: The zenith of the Konparu school came at the end of the Sengoku Period (Period of Warring States, Japan), especially after the national unification by Hideyoshi TOYOTOMI.
Japanese: 金春流がその全盛期を迎えたのは、戦国時代(日本)末期、特に豊臣秀吉が天下統一を果たしてからである。
English: Because Hideyoshi studied Noh under Yasuteru KONPARU (the sixty-second head), the Konparu school had played a pivotal role in official Noh performances, and it was sought after by local warriors as a method with official approval by the government.
Japanese: 金春安照（六十二世宗家）に秀吉が師事したために、金春流は公的な催能の際には中心的な役割を果たし、政権公認の流儀として各地の武将たちにもてはやされることとなった。
English: Yasuteru was said to have an unfavorable appearance--a man of small build with an unattractive face, however, the profound style of his performance overwhelmed the Noh world and he left a lot of treatises and choreographies, and was one of the leading Tayu at that time.
Japanese: 安照は小柄で醜貌と恵まれない外見だったと伝えられるが、重厚な芸風によって能界を圧倒し、大量の芸論や型付を書残すなど、当時を代表する太夫の一人であった。
English: The other leading performer of the Konparu school at that time that can be mentioned was Nakataka SHIMOTSUMA.
Japanese: この当時の金春流を代表する人物として、もう一人下間仲孝が挙げられる。
English: Also known as Shojin, he, a bokan (a residential retainer) serving at Hongan-ji Temple, was a top-ranking te-sarugaku (amateur Noh) performer who had studied under Yoshikatsu KONPARU (also known as Gyuren, the father of Yasuteru, the sixty-first head).
Japanese: 本願寺の坊官である少進は金春喜勝（号笈蓮。安照の父。六十一世宗家）に師事した手猿楽の第一人者であった。
English: He took some local daimyo (feudal lord) as his pupils, and as a performer in the Konparu school, he revived an old classic, 'Seki-dera Komachi (Komachi at Seki-dera),' which had ceased to be performed for a long time, and left 'Dobusho' (Comments on Noh Plays).
Japanese: 各地の大名を弟子に持ち、金春流では長らく途絶していた秘曲「関寺小町」を復活させ、「童舞抄」などの伝書を記すなどの活躍を見せた。
English: Even after the founding of the Edo bakufu (Japanese feudal government headed by a shogun), the influence of the Konparu school was recognized and the school was given the second position among the four Noh schools, next to the Kanze school, but it fell into a period of decline for being tied too closely to the Toyotomi family.
Japanese: 江戸幕府開府後も、金春流はその勢力を認められて四座のなかでは観世流に次ぐ第二位とされたものの、豊臣家とあまりに親密であったことが災いし、流派は停滞期に入ってゆく。
English: On the other hand, the Kanze school found favor with Ieyasu TOKUGAWA, the Kita school with Hidetada TOKUGAWA, and the Hosho school with Tsunayoshi TOKUGAWA, and each became popular among local daimyo due to such influence.
Japanese: その一方で観世流は徳川家康が、喜多流は徳川秀忠が、宝生流は徳川綱吉が愛好し、その影響によって各地の大名のあいだで流行していった。
English: During this period, the Konparu school was closely connected with Nara, and was unique in being granted land (the other schools were given Fuchi mai, an allowance in rice), and in performing takigi Noh (firelight Noh, performed by the light of torches or bonfires), while the other schools were reducing their ties to Kofuku-ji Temple.
Japanese: この時期、金春流は特に奈良と深い関係を持ち、領地を拝領し（他の流派は扶持米）、ほかの流儀が興福寺との関係をうすれさせゆくなかで薪能に謹仕するなど、独特の態度を見せた。
English: Among ritual Shinto Okina performances held at local shrines, not a few show the influence of the Konparu school.
Japanese: 地方で行われる翁神事の中には、金春流の影響を受けたものが少なくない。
English: Also the school was economically powerful enough that it issued paper currency called Konparu-satsu (Konparu bills) in their lands in Yamato in the last days of Tokugawa Shogunate.
Japanese: また大和の所領では幕末、兌換紙幣である金春札を発行するなど、経済的にも恵まれていた。
English: However, these Konparu bills became worthless during the chaotic situation after the Meiji Restoration, and became one of the reasons behind the Konparu family's economic downfall.
Japanese: しかしこの金春札は、維新後の混乱で価値を失い、金春家が経済的に没落する原因の一つともなった。
English: Although the head Konparu family just barely continued to perform Noh in Nara and a few other places after the Meiji Restoration, Banma (later Sajin) SAKURAMA had some success during this time of crisis for the school and was admired as one of the 'three masters of Meiji,' being equal to Kuro HOSHO and Minoru UMEWAKA.
Japanese: 明治維新後、金春宗家は奈良などで細々と演能を続けているにすぎなかったが、こうした流儀の危機にあって一人気を吐いたのが、宝生九郎、梅若実とともに「明治の三名人」といわれた桜間伴馬（後に左陣）である。
English: While the art of Noh itself faced extinction and a difficult time when stages, costumes and masks to perform were not as available as they had been, he continued to perform Noh with the aid of Kuro Tomoharu HOSHO and others and protected the lone base of the Konparu school in Tokyo.
Japanese: 能楽全体が危殆に瀕していた時期にあって、舞台、装束、面などが思うように手に入らない劣悪な環境のなかで、宝生九郎知栄らの援助によって演能をつづけ、東京における金春流の孤塁を守った。
English: After this, in addition to Michio SAKURAMA, Nobutaka KONPARU, the eldest son of the seventy-eighth head Mitsutaro (Hachijo) KONPARU, left for Tokyo, and they tried to restore the declining school together with his uncle Eijiro who stayed in Nara (the seventy-seventh head).
Japanese: その後は桜間道雄のほか、七十八世宗家金春光太郎（八条）の長男・金春信高が上京し、奈良にとどまった叔父・栄治郎（七十七世宗家）などともに流儀の頽勢を挽回すべくつとめた。
English: Nobutaka, who succeeded as the seventy-ninth head, revised their utai-bon (singing texts) which had been less developed than those of other schools (the Showa versions), and strove to increase the current Noh repertory by reviving old pieces.
Japanese: 七十九世宗家を襲った信高は、他流に比べて整備の遅れていた謡本を改訂し（昭和版）、復曲などによる現行曲の増補につとめた。
English: (The number of Noh works performed by the Konparu school were the fewest among the five Noh schools, only 153 in the last year of the Taisho period. In addition, they did not include many secret or popular pieces such as 'Obasute' and 'Kinuta', and that was one of the chief causes of the school's difficulties.)
Japanese: （金春流の所演曲は五流のなかでももっとも少なく、大正末年の時点で153曲しかなかった。しかもこのなかには「姨捨」「砧」など多くの秘曲・人気曲が含まれておらず、この点が流勢低迷の要因の一ともなっていた。）
English: Nowadays the shite Konparu school is active at its bases in Tokyo, Nara, Kumamoto and Nagoya, and more than 100 of its actors are enrolled in the Nohgaku Performers' Association.
Japanese: 現在、シテ方金春流は東京、奈良、熊本、名古屋などを主たる地盤として活動するが、能楽協会に登録される役者は100名強である。
English: Both the Kata (choreography) and utai (Noh chant) strongly retain features specific to shimo-gakari, and its style has a reputation for being the most archaic among the five schools.
Japanese: 型、謡とも濃厚に下掛りの特色を残し、芸風は五流のなかでももっとも古風と評される。
English: The Konparu school for drum performers was founded by Saburoemon, the son of the drummer Mataemon KONPARU, after studying under Genemon OKURA, the fifth head of the Okura school.
Japanese: 大鼓方金春流は太鼓方金春又右衛門の子三郎右衛門が、大鼓方大倉流五世大蔵源右衛門に師事して一流を立てたものである。
English: The founder of the Konparu School for drum performers (also known as the Soemon-ryu school) was Toyouji KONPARU (? - 1458), the uncle of Zenchiku KONPARU.
Japanese: 太鼓方金春流（一名・惣右衛門流）は、金春禅竹の伯父金春豊氏（?～1458年）を流祖とする。
English: The headship, as a drummer attached to the Konparu troupe, was handed down in the family from generation to generation, and the second head Katsukuni KONPARU (the nephew of Toyouji) also did a good job as a playwright, with works such as 'Kibistu no miya.'
Japanese: 代々金春座の座付として一族内で世襲し、二世金春勝国（豊氏の甥にあたる）は「吉備津宮」など謡曲作者としても活躍した。
English: Handing down methods from father to son had increased since the late Muromachi period, when the members' roles inside the troupe became traditional, and two of the heads are known as striking masters: the third head Katsuuji (the son of Toyouji) about whom a lot of anecdotes are seen in "Yoza yakusha mokuroku (Catalog of Actors of the Four Noh Troupes)", and the fourth head Ujishige (the son of Katsuuji) who accompanied Zenpo and Ujiaki KONPARU on their stage and was appointed to Gon no kami.
Japanese: 座内の分業が定着する室町時代後期ごろからは、親子間の世襲が多くなり、『四座役者目録』などに多くの逸話を残す三世勝氏（豊氏の子）、金春禅鳳・氏照らの舞台につきあい権守に任せられた四世氏重（勝氏の子）の二代は際だった名人として知られる。
English: At the time of the fifth head Naganori (Soi), he changed his name to Soemon KAWAI, and after the sixth head Ippo (Sogan) started serving Ieyasu TOKUGAWA, the school was the one exclusively attached to the Konparu troupe in the name of the Soemon-ryu school during the Edo period.
Japanese: 五世長詰（宗意）に至って名を川井惣右衛門と改め、六世一峰（宗岸）の代に徳川家康に出仕して以後、江戸時代を通じて専ら惣右衛門流の名により金春座の座付となる。
English: The line of the head family broke off once when the art of Noh was in its twilight after the Meiji Restoration, but Sentaro MASUMI who left for Tokyo from Kumamoto preserved the school's lone base and raised many younger performers.
Japanese: 維新後の能楽衰退期に一時宗家の家系が途絶えたが、熊本から上京した増見仙太郎が流儀の孤塁を守り、多くの高進を育成した。
English: Then, the son of MASUMI, Rintaro, revived the head family in 1917, and took the name of KONPARU Soemon Kuniyasu (the twenty-first head), busily engaging in his work with Toyoji KAKIMOTO (Living National Treasure).
Japanese: 後に増見の子・林太郎が1917年に宗家を復興して、金春惣右衛門国泰（二十一世）を名乗り、柿本豊次（人間国宝）らとともに活躍した。
English: It is said that the original style was simple and strong, but modern buoyant way was added by the twenty-first head Soemon.
Japanese: 元来は朴強な芸風であったと言われるが、二十一世惣右衛門によって近代的な軽快さが加味されるようになった。
English: The Konparu Mataemon-ryu, Konparu Mataemon school was a method of drum performance by a branch of Soemon family.
Japanese: 太鼓方金春又右衛門流は、惣右衛門家の分家として活動した太鼓方の流儀。
English: The founder, Mataemon, was the nephew of Gyuren KONPARU and studied under Yozaemon JIGA, and he was also famous for inventing a stand to put a drum on that was called a 'Mataemon stand.'
Japanese: 初世又右衛門は金春岌蓮の甥で、似我与左衛門に師事し、「又右衛門台」と呼ばれる太鼓の台を考案したことでも有名。
English: He served Hideyoshi TOYOTOMI and Ieyasu TOKUGAWA, then later became a performer attached to the Kanze school by order and temporarily changed his last name to 'Kanze.'
Japanese: 豊臣秀吉・徳川家康に仕え、後に上意によって観世流の座付きとなって、姓も一時「観世」に改めた。
English: There are the Takakura Hisada family, who were tea masters of the Omotesenke school under the Sansenke (three houses of Sen, [Omotesenke, Urasenke and Mushakojisenke]), and the Ryogae-machi Hisada family, called the Hisada school.
Japanese: 三千家の縁戚として表千家の茶を業とする高倉久田家と、久田流（ひさだりゅう）を称する両替町久田家とがある。
English: The ango (pen name ending with the character 'an') of the Hisada family is Hanshoan, which is the name of the tea house called Nijo nakaita-no-seki (two tatami mats with a board in between) of the third generation Sozen.
Japanese: 久田家の庵号は半床庵（はんしょうあん）といい、3代宗全による二畳中板の茶室を指す。
English: It is said that the founder of the Hisada family was Sanefusa HISADA, a samurai retainer of Yoshizane SASAKI, who was a later Muromachi period descendant of the Misono clan of the MINAMOTO no Mitsusue line of Seiwa-Genji (Minamoto clan).
Japanese: 久田家の家祖は清和源氏源満季流御園氏末裔といわれ、室町末期の佐々木義実の家臣で久田実房という武人が元祖だとされる。
English: The story passed down in the oral tradition holds that Sanefusa was the husband of SEN no Rikyu's younger sister Soen, and that even though there is no supporting documentation, this account is recognized by the Omotesenke school and the Takakura Hisada family.
Japanese: 口伝により実房は千利休の妹宗円の夫であるとされ、資料はないながらも表千家と高倉久田家の間では了解されている。
English: According to the story, at the time of the marriage, Rikyu gave Soen a chashaku (bamboo tea spoon for making Japanese tea) he had carved for the occasion, which he called 'large furisode,' along with a scroll called 'Fujin shitsuke temae' (tea ceremony procedures for women).
Japanese: それによれば、このとき利休は茶杓を削って「大振袖」と名づけ「婦人シツケ点前一巻」と共に宗円に与えたという。
English: This Fujin temae is thought to be the origins of the tea ceremony procedures taught by the Omotesenke school and Hisada family today.
Japanese: この婦人点前が、今日表千家や久田流に伝わる女点前の源流であるとされている。
English: Sanefusa's child, Fusamasa, took the tonsure and became a monk, assuming the name Soei, and it is assumed that he was a tea master, the first in the Hisada family.
Japanese: 実房の子は房政といい、剃髪して宗栄と名乗り、茶人であったと考えられており、これを久田家の初代としている。
English: The third generation head of the family, Sozen HISADA, who excelled at handicrafts, was not only famous for his Sozen wicker baskets, but also left many fine works such as tea bowls, spoons and the like.
Japanese: 3代久田宗全は手工に秀で、宗全籠に名を残す他、茶碗茶杓などに優品が多い。
English: The fourth generation head of the family, Fukyusai (不及斎) had two sons, and for unknown reasons the second son became the successor to the Hanshoan.
Japanese: 4代不及斎には二男あり、理由は不明ながら次男の宗悦が半床庵を継嗣した。
English: When the seventh generation head of the Hisada family, Kokosai Soya, passed away, he was survived by his second son, Tatsuzo; however, because his son had been born only the previous year, Muneyoshi SEKI (関宗厳) was adopted as his guardian, and became the eighth generation Munetoshi.
Japanese: 7代皓々斎宗也が没した際に次男達蔵が残されていたが、前年生まれたばかりのため後見人として関宗厳を養子に迎え8代宗利とした。
English: After that, since the ninth generation head of the Omotesenke, Ryoryosai (an older brother of Kokosai Soya) passed away, Tatsuzo succeeded him as the tenth generation head of the Omotesenke school.
Japanese: その後表千家9代了々斎（皓々斎宗也の兄）が没したため、達蔵が表千家10代を継承した。
English: Then, the family adopted the grandson of Unnunsai Yoho (云々斎楊甫), the eighth generation head of the Sumiyama family, who were in-laws of the seventh generation Joshinsai of the Omotesenke school, who became the ninth head of the Hisada family, known as Soyo.
Japanese: 改めて表千家7代如心斎の姻戚である住山家より、住山家8代云々斎楊甫の孫を養子に迎え9代宗与とした。
English: However, Soyo died prematurely, so the Hisada family adopted a child of Kyukosai, the tenth generation head of the Omotesenke, who became the tenth generation head of the Hisada family, known as Soetsu.
Japanese: しかし宗与は夭逝し、改めて表千家10代吸江斎の子を養子に迎え10代宗悦とした。
English: Because Soetsu also died an early death at 40 years of age in 1895, the 11th generation head, Mutekisai Soya, was taken in by Omotesenke school, the family line was therefore again temporarily disrupted.
Japanese: 宗悦も1895年に40歳で夭逝したため、11代無適斎宗也は表千家に引き取られ再び一時中絶となる。
English: Mutekisai Soya received the support of the 12th generation head of the Omotesenke, Seisai, and restored the line in 1917, which persists to this day.
Japanese: 無適斎宗也は1917年に表千家12代惺斎の援助を得て再興し、現在に至る。
English: He named his school the Hisada school, and actively spread his teachings throughout the Tokai region; however, in 1864 the residence in Ryogae-machi was consumed in a fire caused by a war, and has not been rebuilt to this day.
Japanese: 久田流を称して主に東海地方に広まるが、その一方両替町住邸は元治元年（1864年）の兵火により焼失して現在に至る。
English: In the Tokai region, there was also the Bishu Hisada school, and after Mitsuyoshi SHIMOMURA in Otaka (Midori Ward in present day Nagoya City) studied the teachings of the Hisada school under Eiho, a student of the sixth generation grandmaster Sosan, he established his own independent school.
Japanese: 東海地方には他に尾州久田流があり、大高（現在名古屋市緑区(名古屋市)）の下村実栗が6代宗参の弟子の栄甫から久田流を習得した後、独自発案を含めて創流したもの。
English: The ango (name of hermitage) of the Horinouchi family was Choseian, which stands for the Rikyu-type "nijo daime" tearoom which is two and three-quarters tatami mats in size.
Japanese: 堀内家の庵号は長生庵（ちょうせいあん）といい、利休形二畳台目の茶室を指す。
English: The founder of the Horinouchi family is said to have been the scholar of Japanese classical literature Josa HORINOUCHI (1612-1699), whom is purported to have learned the way of tea under Sohen YAMADA.
Japanese: 堀内家の家祖は国学者と伝えられる堀内浄佐(1612～1699)であり、茶の湯を山田宗偏に学んだと伝えられる。
English: The first generation Senkaku HORINOUCHI had been adopted into the Horinouchi family by Josa, and after having first studied haikai (seventeen-syllable verse) under SENTOKU Mizuma, he left Edo to enter into study under the sixth grandmaster of the Omotesenke, Kakukakusai.
Japanese: 初代、堀内仙鶴は浄佐の養子で、はじめ水間沾徳の門で俳諧を学び、のちに江戸を去り表千家6代覚々斎の門下に入った。
English: He was also famous as a haiku poet, and it is said that he exerted a great influence on the tea masters of his generation.
Japanese: 俳人としても著名であり、同時代の茶人たちに大きな影響を与えたと伝えられる。
English: The fourth grandmaster, Hogosai (方合斎), having originally been from Takatsuki domain, became the tea master of the Nagai family of Takatsuki domain.
Japanese: 4代方合斎が高槻藩の出身であったため、以後高槻藩永井家の茶頭を務めた。
English: The eighth generation grandmaster, Sokan MATSUO, designed Ryurei-joku (a set of tea service table and chair) called "Tafel yugao makie" (table with lacquer craft of moonflowers), and subsequently obtained recognition of the ryurei-shiki (chair-style tea ceremony) in the Omotesenke.
Japanese: 8代松翁宗完は明治8年（1875年）にタワフル夕顔蒔絵の立礼卓を考案し、表千家に立礼式を受容した。
English: The twelfth grandmaster, Kenchusai, in what is somewhat unusual for a tea master, graduated with a degree from the department of sciences of Kyoto Imperial University, and became known for his unique style of conducting the tea service.
Japanese: 12代兼中斎は茶家には珍しい京都帝国大学理学部の出身で独特の茶風で知られる。
English: Soshin SHINO, the first-generation head of the family, was a trusted vassal who devoted himself to the Ashikaga shogun family, through the sixth shogun, Yoshinori ASHIKAGA to the eighth, Yoshiie ASHIKAGA.
Japanese: 初代志野宗信は足利将軍家の6代足利義教から8代足利義政まで仕えた近臣であった。
English: Shoha SINO, the third-generation head of the family, had a lot of pupils including SEN no Rikyu and retiring from his position, he left everything to Ryusho TATEBE; thus under the recommendation of Ryusho TATEBE, Sogo HACHIYA is said to have succeeded to the Shino school.
Japanese: 3代志野省巴は千利休を含む多くの門人を抱えたが、隠棲するにあたってその一切を建部隆勝に預け、建部隆勝の推により志野流は蜂谷宗悟に受け継がれたと伝えられる。
English: On the other hand, some schools were independent of the Hachiya family, such as Johaku YONEKAWA, a founder of the Yonekawa school, following the style of Ryusho TATEBE, and those are sometimes known as the Takebe school.
Japanese: 一方で米川流の祖米川常伯のように蜂谷家とは独立に建部隆勝の流れを汲むものもいて、これらを建部流と称することがある。
English: As above mentioned, the Shino school was succeeded to by Sogo HACHIYA; however, it is sometimes referred to as the Hachiya school in contrast with the Takebe school.
Japanese: 前述の通り志野流は蜂谷宗悟に受け継がれたが、建部流と対比させて蜂谷流と称することもある。
English: Sosen, the ninth tea master of the Shino school, established the iemoto system (the system of licensing the teaching of a traditional Japanese art), catching the tide of the Genroku era (the period when culture, especially among chonin [townspeople] flowered), therefore he was called as the restorer of the Shino school.
Japanese: 9世宗先は元禄期の時流に沿って家元制度を確立させ、志野流の中興と称せられる。
English: Masaaki Sensai FUJIMO(1701-1783), a high-ranked disciple of Sosen, overcame the difficulty of the Shino family's succession for forty years, acting as a guardian for four-subsequent-generation heads of the school after the death of Sosen.
Japanese: 藤野専斎昌章（1701年-1783年）は宗先の高弟で、宗先の没した後4代に渡って後見を務め、40年に及ぶ宗家継承の難局を乗り切った。