nntsuzu/KFTT huggingface dataset:
English: Many parliament members were, however, against enactment of the Railroad Construction Law, probably because they were shareholders of railway companies, and Ukichi TAGUCHI (president of Ryomo Railway) opposed INOUE, arguing that it was private railways that would facilitate the development of railways.
Japanese: しかし鉄道敷設法では、多数の議員が鉄道各社の株主との理由もあってか法案成立に抵抗し、また、田口卯吉（両毛鉄道社長）は、民営鉄道こそが鉄道発展を促すとして井上と対立した。
English: As a result, the Railroad Construction Law was modified to give room to promotion of private railways, and being furious with this, INOUE resigned from the position of the Minister of Railways in 1893.
Japanese: その結果、鉄道敷設法は民営鉄道促進の余地を広げるものとして修正され、憤った井上は1893年に鉄道庁長官を退官した。
English: In 1863, he studied in England with Kaoru INOUE, Kinsuke ENDO, Yozo YAMAO, and Hirobumi ITO.
Japanese: 1863年、井上馨、遠藤謹助、山尾庸三、伊藤博文と共に5人でイギリス留学。
English: From 1869 on, he successively took the positions of Head of the Mint and the Supervisor of Mining, Head of Mining and Railways, Head of Railways, Taifu of Industry (Post of Ministry of Industry), the Director General of the Railway Agency, and the Minister of Railways.
Japanese: 1869年～、造幣頭兼鉱山正を皮切りに、鉱山兼鉄道頭、鉄道頭、工部大輔、鉄道局長、鉄道庁長官を歴任。
English: In August, 1878, construction of the Osakayama Tunnel between Kyoto and Otsu started with Toshinori IIDA as the general director.
Japanese: 1878年8月、飯田俊徳を総監督とし、京都ー大津間の逢坂山トンネルを着工。
English: On May 24, 1887, he was given the title of Viscount because of his contributions to the establishment of the Mint and the development of railways.
Japanese: 1887年5月24日、造幣寮の創業・鉄道の発展に貢献した功績により子爵を授けられる。
English: In 1891, he founded Koiwai Farm (Koiwai Farm,Ltd.) by cultivating fields of volcanic ash soil with Gishin ONO and Yanosuke IWASAKI.
Japanese: 1891年、小野義真、岩崎彌之助と共同で火山灰土の原野を開墾して小岩井農場（小岩井農牧株式会社）を創立。
English: In 1964, his grave at Oyama Cemetry of Tokai-ji Temple in Shinagawa was designated as a monument relating to railways.
Japanese: 1964年、品川東海寺大山墓地内にある墓所が鉄道記念物に指定される。
English: This company had produced various locomotives and passenger and freight carss since the establishment, but in 1912 its name was changed to Kisha Seizo Kabushiki Kaisha (commonly called Kisha Kaisha), and in 1972, it was merged into Kawasaki Heavy Industries, Ltd. to end its history.
Japanese: この会社は以来、数々の機関車や客貨車を製造してきたが、1912年、汽車製造株式会社（通称　汽車会社）に名を変え、1972年、川崎重工業に吸収合併されて幕を閉じた。
English: The former Hagi station building remaining in the yard of Hagi station of JR Sanin Main Line is currently used as the Museum of Nature and History of Hagi City.
Japanese: JR山陰本線萩駅構内にある旧萩駅舎は、現在、萩市自然と歴史の展示館として再利用されている。
English: The Museum has exhibitions about Hagi and railways, and they show various documents about INOUE as well as about railways.
Japanese: 展示館には萩の紹介コーナーと鉄道コーナーがあり、鉄道資料とともに、井上に関する数々の資料が展示されている。
English: The expenses required to study in England at that time were about 500 million yen in terms of the monetary value as of 2004, and there is a record describing the four people after the 130-day voyage as starving crows.
Japanese: イギリス留学の費用は、2004年現在の貨幣価値にして約5億円で、130日の航海後の4人は飢えたカラスのようだったと記録されている。
English: Hokusai KATSUSHIKA (c. October 31, 1760 - May 10, 1849) was a painter of Ukiyoe (Japanese woodblock prints) who flourished in the Edo period, a recent time in Japan, and was a representative figure of the late Edo period, Bunka and Bunsei eras (Kasei culture).
Japanese: 葛飾北斎（葛飾北齋、かつしかほくさい。宝暦10年9月23日(旧暦)?〈1760年10月31日?〉-嘉永2年4月18日(旧暦)〈1849年5月10日〉）は、日本の近世にあたる江戸時代に活躍した浮世絵であり、とりわけ後期、文化(元号)・文政の頃（化政文化）を代表する一人。
English: His major works were "Fugaku sanju rokkei" (Thirty-six views of Mount Fuji) and "Hokusai Manga" (Hokusai's sketches), and he was a famed throughout the world as a painter.
Japanese: 代表作に『富嶽三十六景』や『北斎漫画』があり、世界的にも著名な画家である。
English: Additionally, he made a great contribution to the spread of painting techniques and education for common people by producing innovation in yomihon (books for reading) and sashie (illustration), publishing many picture books such as "Hokusai Manga" and showing his ability in the depiction of forms with hair brushes.
Japanese: さらに読本（よみほん）・挿絵芸術に新機軸を見出したことや、『北斎漫画』を始めとする絵本を多数発表したこと、毛筆による形態描出に敏腕を奮ったことなどは、絵画技術の普及や庶民教育にも益するところ大であった。
English: He founded the Katsushika school and later had an influence not only on Western impressionist artists such as Vincent VAN GOGH but also craftsmen and musicians.
Japanese: 葛飾派の祖となり、のちには、フィンセント・ファン・ゴッホなど西欧の印象派画壇の芸術家を始め、工芸家や音楽家にも影響を与えている。
English: His great achievement is highly evaluated, especially abroad, and he was the only Japanese who was ranked among 'the world 100 people who made one of the most important achievements in this 1,000 years' in "Life," a U.S. magazine, in 1999.
Japanese: その功績は海外で特に評価が高く、平成11年（1999年）にはアメリカ合衆国の雑誌『ライフ(雑誌)』の企画「この1000年で最も重要な功績を残した世界の人物100人」で、日本人としてただ一人、ランクインした。
English: He was born a son of Sadayoshi (定義), a poor farmer, at Honjo Warigesui, Katsushika County, Musashi Province (Honjo Warigesui in Edo, now a part of the present Sumida Ward, Tokyo Prefecture; refer also to 'Hokusai Street'.)
Japanese: 武蔵国は葛飾郡本所割下水（江戸・本所割下水。現・東京都墨田区の一角。「北斎通り」も参照）にて、貧しい百姓定義の子として生を受ける。
English: In his childhood, he was adopted as a son by Ise NAKAJIMA, an artist of bronze mirrors of the shogunate's official business, but later Nakajima transferred the family estate to his real son, so Hokusai left the Nakajima family.
Japanese: 幼くして、幕府御用達銅鏡鏡師であった中島伊勢の養子となったが、のち、実子に家督を譲り、家を出る。
English: Subsequently, he experienced hardships as an apprentice of a book-lending shop and a disciple of a sculptor of woodblocks, and thus returned to his family home.
Japanese: その後、貸本の丁稚、木版彫刻の従弟（とてい）となって労苦を重ね、実家へ戻る。
English: He learned every method of painting such as the Kano school, Kara-e painting and Western painting, and drew many Ukiyoe landscapes.
Japanese: 狩野派や唐絵、西洋画などあらゆる画法を学び、名所絵（浮世絵風景画）を多く手がけた。
English: Around this time, he used the go (byname) of 'Shunro,' which originated from each letter of his master's name Shunsho and his other go, Kyokurosei.
Japanese: このころ用いていた号は「春朗（しゅんろう）」であるが、これは師・春章とその別号である旭朗井（きょくろうせい）から1字ずつもらい受けたものである。
English: It is said that this was because he was at odds with Haruyoshi, the oldest senior apprentice, or because he had secretly learned the Kano school's brushwork, but the truth isn't known.
Japanese: 理由は、最古参の兄弟子である春好との不仲とも、春章に隠れて狩野派の画法を学んだからともいわれるが、真相は不明である。
English: He gave the go of 'Sori' to his disciple Soji and began to use the go of 'Hokusai,' 'Kako' and 'Tokimasa.'
Japanese: 「宗理（そうり）」の号を門人宗二に譲り、自らは「北斎」」「可侯（かこう）」「辰政（ときまさ）」を用いる。
English: In 1805, he began using the go 'Hokusai KATSUSHIKA' (as to the orthographic style, refer to the introduction).
Japanese: 文化(日本)2年（1805年）　「葛飾北斎」の号を用いる（正字については導入部を参照）。
English: He began producing the first edition of "Fugaku sanju rokkei" in 1823, started publishing it in 1831 and concluded in 1833.
Japanese: 『富嶽三十六景』（富嶽三十六景）の初版は文政6年（1823年）に制作が始まり、天保2年（1831年）に開版、同4年（1833年）に完結する。
English: His death haiku (Japanese poem) was, 'I wonder to go to summer fields for a pastime as a soul; (人魂で 行く気散じや 夏野原) (I will be able to become a true edakumi [painter]).'
Japanese: 辞世は「人魂で　行く気散じや　夏野原」であった（真正の画工と成るを得べし）。
English: The go he used were 'Shunro,' 'Hokusai,' 'Sori,' 'Kako,' Tokimasa,' 'Gakyojin,' 'Taito,' 'Iitsu,' 'Gakyorojin,' 'Manji' and others, as well as combinations of them.
Japanese: 使用した号(称号)は「春朗」「北斎」「宗理」「可侯」「辰政」「画狂人」「戴斗」「為一」「画狂老人」「卍」などと、それらの組み合わせである。
English: The go 'Hokusai,' which is well known today, was an abbreviation of 'Hokusai Tokimasa,' which was named after the faith of Hokutatsu Myoken Bosatsu in the Nichiren sect, which deified the Polar star and the seven starts of the North Dipper.
Japanese: 現在広く知られる「北斎」は、当初名乗っていた「北斎辰政」の略称で、これは北極星および北斗七星を神格化した日蓮宗系の北辰妙見菩薩信仰にちなんでいる。
English: The reason this name was common as compared to others was that it was used in the style such as 'Hokusai arateme Iitsu' (Iitsu, formerly Hokusai) or 'Hokusai arateme Taito.'
Japanese: 他に比してこの名が通用しているのは「北斎改め為一」あるいは「北斎改め戴斗」などというかたちで使われていたことによる。
English: Additionally, some people say the reason he changed his go so often was that it was one of the means to gain the income needed to transfer the go to his disciples.
Japanese: なお、彼の改号の多さについては、弟子に号を譲ることを収入の一手段としていたため、とする説もある。
English: This was because he and his daughter Oi (Oi KATSUSHIKA), who had divorced and lived with her father Hokusai, devoted themselves exclusively to painting, so that they moved whenever their rooms became dirty or in wild disarray.
Japanese: これは、彼自身と、離縁して父・北斎のもとにあった出戻り娘の応為（おうい。葛飾応為）とが、絵を描くことのみに集中し、部屋が荒れたり汚れたりするたびに引っ越していたからである。
English: Finally, upon his ninety-third relocation, when he moved to a rented house where he had lived before, the house remained in wild disorder, just as it was in the past.
Japanese: 最終的に、93回目の引っ越しで以前暮らしていた借家に入居した際、部屋が引き払ったときとなんら変わらず散らかったままであった。
English: It is said that the reason he achieved longevity of 90 years was that he ate arrowhead every day.
Japanese: が、それでも90歳の長寿を全うしたのは、クワイだけは毎日欠かさず食べていたからである、といわれている。
English: However, because he did not follow the designs proposed by authors, he was often in conflict with them.
Japanese: が、作者の提示した下絵の通りに絵を描かなかったためにしばしば作者と衝突を繰り返していた。
English: He used the go of 'Hokusai KATSUSHIKA,' among many others, at one time when he worked together with Bakin KYOKUTEI, a writer of gesaku.
Japanese: 数ある号の一つ「葛飾北斎」を名乗っていたのは戯作者の曲亭馬琴とコンビを組んだ一時期である。
English: At that time, they published such works as "Shinpen Suikogaden," "Kinsei Kaidan Shimoyo no Hoshi" and "Chinsetsu yumiharizuki (The Crescent Moon)," which made his name famous together with Bakin.
Japanese: その間に『新編水滸画伝』『近世怪談霜夜之星』『椿説弓張月』などの作品を発表し、馬琴とともにその名を一躍不動のものとした。
English: It is said that he was a person who greatly elevated the estimation of sashie, which had previously been only a premium of a book.
Japanese: 読み物のおまけ程度の扱いでしかなかった挿絵の評価を格段に引き上げた人物と言われている。
English: When Hokusai was dying, he took a deep breath and said, "If the heavens make me live for ten more years,"' and after a while he said, "If the heavens make me live for five more years, I would necessarily be able to become a very true edakumi," stumbled, and then died.'
Japanese: 翁死に臨み大息し　天我をして十年の命を長らわしめば　といい　暫くして更に言いて曰く天我をして五年の命を保たしめば　真正の画工となるを得（う）べしと言吃死す
English: The meaning is as follows: 'When Hokusai was dying, he took a deep breath and said, "If the heavens make me live for ten more years,"' and after a while he said, "If the heavens make me live for five more years, I would necessarily be able to become a very true edakumi," stumbled, and then died.'
Japanese: これは、「死を目前にした（北斎）翁は大きく息をして『天があと10年の間、命長らえることを私に許されたなら』と言い、しばらくしてさらに、『天があと5年の間、命保つことを私に許されたなら、必ずやまさに本物といえる画工になり得たであろう』と言いどもって死んだ」との意味である。
English: This means, 'I wonder to go to summer fields for a pastime as a soul.'
Japanese: その意、「人魂になって夏の原っぱにでも気晴らしに出かけようか」というものであった。
English: According to "Katsushika Hokusai Den (Biography of Hokusai KATSUSHIKA)" by Kyoshin Iijima, Heihachiro KOBAYASHI, an expert swordsman who had been treated as a hero of the Kira side in the Genroku Ako Incident (Chushingura [The Treasury of Loyal Retainers]), had a daughter who later married Ise NAKAJIMA, an artist of mirrors, and gave birth to Hokusai KATSUSHIKA.
Japanese: 飯島虚心『葛飾北斎伝』によれば、元禄赤穂事件（忠臣蔵）で吉良方のヒーローとして扱われている剣客の小林平八郎には、娘が一人いて、その娘が後世、鏡師中島伊勢に嫁ぎ、そこで生まれた子が葛飾北斎であるという。
English: Hokusai KATSUSHIKA married twice in his life, and in each marriage his wife had one son and two daughters (a total of two sons and four daughters).
Japanese: 葛飾北斎は生涯に2度結婚しており、それぞれの妻との間に一男二女を儲けている（合わせると二男四女）。
English: Those that are shown here are cohesive masterpieces including soroimono (series of paintings), which are only a part of Hokusai's paintings.
Japanese: ここに示すものは揃物（そろいもの）等まとまった作品群であるが、これらは北斎の画業のごく一部に過ぎない。
English: Occasionally, some of them are confirmed in records and letters as having actually 'existed.'
Japanese: それらは文字による記録のかたちで「存在した」程度のことではあるが確認できる場合がある。
English: It was first published when Hokusai was 54 years old and his artist's appellation was Taito (the first edition was published in 1814).
Japanese: 北斎54歳、画号・戴斗の頃（文化(元号)11年〈1814年〉）に初版あり。
English: Initially, it was published as etehon (art manual, an instructional book for students of painting).
Japanese: 初めは絵手本（画学生のための絵の教本）として発表されたものであった。
English: However, it received a high reputation and became widespread such as for the manuals of design for craftsmen.
Japanese: が、評判を呼び、職人の意匠手引書などにも用いられることとなって広く普及した。
English: It includes various contents ranging from people of various professions, tools, funny faces, specters and representations of perspective.
Japanese: さまざまな職業の人から道具類、ふざけた顔、妖怪、さらには遠近法まで、多岐にわたる内容が含まれている。
English: Oiwasan' (Hokusai Gallery 4), 'Sarayashiki' (Hokusai Gallery 5), 'Warai Hannya,' 'Shiunen,' 'Kohada Koheiji.'
Japanese: 「お岩さん」（北斎画廊4）「さらやし記」（北斎画廊5）「笑ひはんにや」「しうねん」「小はだ小平二」
English: It is the soroimono of 46 large landscape nishiki-e whose theme was Mt. Fuji, consisting of 36 main paintings and ten others that were added because of their good reputation.
Japanese: 富士山を主題として描かれた大判錦絵による風景画揃物で、主板の36図、および、好評により追加された10図を数えた、計46図。
English: Production of the first edition started around 1823; it was published in 1831 and completed around 1833.
Japanese: 初版は文政6年（1823年）頃に制作が始まり、天保2年（1831年）頃に開版、同4年（1833年）頃に完結している。
English: Gaifu kaisei (South Wind, Clear Sky)' (also known as Red Fuji) and 'Kanagawa oki nami ura (View Through Waves off the Coast of Kanagawa)', known as representative works of Hokusai, are especially famous.
Japanese: 北斎の代表作として知られ「凱風快晴」（通称：赤富士）や「神奈川沖浪裏」（右の画像参照）が特に有名。
English: Kanagawa oki nami ura' had a great impact on Western artists such as Vincent VAN GOGH, who saw it and later praised it in a letter to a fellow painter; and Claude Debussy, who got an idea and composed the symphonic poem "La Mer (The Sea)."
Japanese: 「神奈川沖浪裏」は、後世、それを見たフィンセント・ファン・ゴッホが画家仲間宛ての手紙の中で賞賛する、発想を得たクロード・ドビュッシーが交響詩『海(ドビュッシー)』を作曲するなど、西欧の芸術家に多大な影響を与えることとなった。
English: However, compared to a photograph of a wave as taken by a high-speed camera, it proves to be a very graphic still image.
Japanese: が、ハイスピードカメラなどで撮影された波と比較すると、それが優れて写実的な静止画であることを確かめられる。
English: In addition, this painting is adopted as the motif of the logotype of QUICKSILVER, a brand name of surfing goods.
Japanese: また、サーフィン系ブランドであるクイックシルバー(ブランド)のロゴタイプは、この絵画をモチーフにしている。
English: Kinugawa Hachifuse' (Bowl-Trap Fishing on the Kinu River), 'Soshu Choshi' (Choshi in Fusa Province) (see the picture at right), 'Miyatogawa Naganawa' (Long-line Fishing on the Miyato River), 'Machi - ami' (Net Fishing), 'Soshu Tonegawa' (Tone River in Fusa Province), 'Koshu Hiburi' (Fishing by Torchlight in Kai Province), 'Uraga in Sagami Province,' 'Goto Kujira - tsuki' (Whaling off the Goto Islands) (as depicted in 'Whaling culture'), 'Noborito in Shimousa Province' and 'Kabarinagashi' (Fly-Hook Angling).
Japanese: 「絹川はちふせ」「総国銚子市」（右の画像参照）「宮戸川長縄」「待チ網」「総州利根川」「甲斐国火振」「相模国浦賀」「五島鯨突」（「捕鯨文化」に画像あり）「下総国登戸」「蚊針流」
English: It is a soroimono of eight ukiyoe landscapes as large-sized nishiki-e which described famous waterfalls all over the country with focus on the appearance of falling water.
Japanese: 落下する水の表情を趣旨として全国の有名な滝を描いた大判錦絵による名所絵揃物全8図。
English: Shimotsuke Kurokami-yama Kirifuri no Taki' (Kirifuri Falls at Mt. Kurokami in Shimotsuke Province), 'Soshu Oyama Roben no Taki' (Roben Falls at Oyama in Sagami Province), 'Toto Aoigaoka no Taki' (Aoigaoka Falls in the Eastern Capital), 'Tokaido Sakanoshita Kiyotaki Kannon' (Kiyotaki Kannon at Sakanoshita on the Tokai Road), 'Yoro Falls in Mino Province,' 'Amida Falls in the Depth of Kiso Road' (Hokusai Gallery 3), 'Kiso Kaido Ono no Bakufu' (Ono Falls on the Kiso Kaido Road), 'Yoshitsune Horse-wash Falls at Yoshino, Yamato Province.'
Japanese: 「下野国黒髪山霧降の滝」「相州　大山ろうべんの瀧」「東都葵ケ岡の滝」「東海道坂下宿清流くわんおん」「美濃国養老の滝」「木曽路ノ奥阿彌陀ヶ瀧」（北斎画廊3）「木曾海道小野ノ瀑布」「大和国吉野源義経馬洗滝」
English: Mt. Tenpo at the Mouth of the Aji River in Settsu Province,' 'Kameido Tenjinsha Taikobashi' (Arched Bridge at Kameido Tenjin Shrine), 'Kumo no Kakehashi at Mt. Gyodo in Ashikaga,' 'Suo no Kuni Kintaihashi' (Kintai Bridge in Suo Province), 'Togetsu Bridge at Arashiyama in Yamashiro Province,' 'Tsukumo Bridge in Echizen Province,' 'Tenman Bridge in Settsu Province,' 'Hietsu no Sakai tsurihashi' (Suspension Bridge of Sakai at Hietsu) (See the right picture), 'Old Picture of Sano Funahashi in Kozuke Province', 'Yahagi Bridge at Okazaki on the Tokai Road,' and 'Old Picture of Yatsuhashi Bridge in Mikawa Province.'
Japanese: 「摂津国阿治川口天保山」「亀戸天神社たいこばし」「足利市行道山くものかけはし」「すほうの国きんたいはし」「山城国あらし山渡月橋」「越前国九十九橋」「摂州天満橋」「飛越の堺つりはし」（右の画像参照）「かうつけ佐野ふなはしの古づ」「東海道岡崎矢はぎのはし」「三河国の八ツ橋の古図」
English: Drawn by Zen Hokusai Iitsu aratame Gakyo rojin Manji around 1834 - 1839,
Japanese: 天保5-10年（1834年-1839年）、前北斎為一改画狂老人卍筆。
English: It is said that Hokusai, who was forced to fall in the suspension of operations with publishers during the Tenpo Famine (1833 - 39), made a plan to drew many Nikuhitsu gajo and sell them in shops in order to avoid starvation.
Japanese: 天保の大飢饉（1833-39年）の最中、版元たちとともに休業状態に追い込まれた北斎は一計を案じ、肉筆画帖をいくつも描いて店先で売らせることで餓死を免れたと伝えられる。
English: Although there exists only one album today, it seems that several of Nikuhitsu gajo were sold in those days.
Japanese: 現存は一帖のみであるが、肉筆画帖は当時、複数が発売されていたらしい。
English: Adonis ramosa and a face of fan' (a picture in 'Sensu-Senmen' [fan on a fan], 'Taka' (hawk), 'Scissors and Sparrow,' 'A Gray-Headed Cuckoo and a Rainbow,' 'Salted Salmon and Mice' (Hokusai Gallery 13), 'A Sweetfish and Colored Leaves' (Hokusai Gallery 14), 'A Frog and Saxifrage' (Hokusai Gallery 15), 'A Butterfly and a Pink' (Hokusai Gallery 16), 'A Snake and a Small Bird,' (Cherry Flower and Pack), held at the Katsushika Hokusai Museum.
Japanese: 「フクジュソウと扇面」（「扇子扇面」に画像あり）「鷹」（右の画像参照）「はさみとスズメ」「ホトトギスと虹」「塩鮭と鼠」（北斎画廊13）「鮎と紅葉」（北斎画廊14）「蛙とゆきのした」（北斎画廊15）「鰈と撫子」（北斎画廊16）「蛇と小鳥」「桜花と包み」　葛飾北斎美術館所蔵。
English: The first volume was published in 1834 and the second was published in 1835, but the year of publication for the third volume is not known (it is said to be very late).
Japanese: 初編天保5年（1834年）刊行、二編は天保6年（1835年）、三編は刊行年不明（かなり遅れたらしい）。
English: It is a sketch album of 102 pictures, a subject of which was Mt. Fuji and that cleverly included scenery and customs of people's lives in those days.
Japanese: 富士山を画題に102図を描いたスケッチ集であるが、当時の風物や人々の営みを巧みに交えたもの。
English: However, the afterword, which showed an uncommon motivation for painting, is more famous rather than the work itself.
Japanese: しかし、広く世に知られているのはこの作品よりもむしろ、尋常ならざる図画への意欲を著した跋文（後書き）である。
English: I have had the habit of drawing shapes of things since I was six years old, and drawn many paintings since about 50 years of age. However, what I had drawn before 70 years old were all insignificant.'
Japanese: 己六才より物の形状を写の癖ありて　半百の此より数々画図を顕といえども　七十年前画く所は実に取るに足るものなし
English: Therefore, I hope that my technique would get better by the age of 86, I would understand the secrets of art at the age of 90 and would reach the world of gods at the age of 100. (Then,) A point which I would draw over the age of 100 would be alive as if it had gained life.'
Japanese: 故に八十六才にしては益々進み　九十才にして猶其（その）奥意を極め　一百歳にして正に神妙ならんか　百有十歳にしては一点一格にして生るがごとくならん
English: I have had the habit of drawing shapes of things since I was six years old, and drawn many paintings since about 50 years of age.
Japanese: 「私は6歳より物の形状を写し取る癖があり、50歳の頃から数々の図画を表した。」
English: However, what I had drawn before 70 years old were all insignificant.'
Japanese: 「とは言え、70歳までに描いたものは本当に取るに足らぬものばかりである。」
English: (Although I was such a person,) I was able to know the births and structures of various creatures and plants to some extent by the time I reached 73 years of age.'
Japanese: 「（そのような私であるが、）73歳になってさまざまな生き物や草木の生まれと造りをいくらかは知ることができた。」
English: Therefore, I hope that my technique would get better by the age of 86, I would understand the secrets of art at the age of 90 and would reach the world of gods at the age of 100.'
Japanese: 「ゆえに、86歳になればますます腕は上達し、90歳ともなると奥義を極め、100歳に至っては正に神妙の域に達するであろうか。」
English: (Then,) A piece which I would draw over the age of 100 would be alive as if it had gained life.'
Japanese: 「（そして、）100歳を超えて描く一点は一つの命を得たかのように生きたものとなろう。」
English: I hope that the god of longevity would see that my words aren't nonsense.'
Japanese: 「長寿の神には、このような私の言葉が世迷い言などではないことをご覧いただきたく願いたいものだ。」
English: It's a soroimono of large-size nishiki-e that was produced in a project in which menoto (a woman breastfeeding a highborn baby) clearly explained the meaning of Hyakunin Isshu by paintings.
Japanese: 百人一首の歌意を乳母が判りやすく絵で説くとの企画のもと製作された、大判錦絵揃物。
English: Kozan TAKAI (1806 - 1883), a wealthy farmer and merchant who was born at Obuse in Shinshu, managed a brewery and had a wide knowledge including Yomei-gaku (neo-Confucianism based on the teachings of Wang Yangming), met Hokusai when he traveled to study at Edo, and became his disciple.
Japanese: 信州小布施町を生地とし造酒業を主とした豪農商にして陽明学等学問にも通じた高井鴻山（文化3年-明治16年〈1806年-1883年〉）は、江戸での遊学の折、北斎と知り合い、門下となっている。
English: Based on that relationship, a few years later, in the fall of 1842, Hokusai, then 83, visited the residence of Kozan at Obuse as if it had been along with way in his travels.
Japanese: この縁によって数年後の天保13年（1842年）秋、旅の道すがらとでもいった様子で齢83の北斎が小布施の鴻山屋敷を訪れた。
English: While in his stay, he made original drawings with the support of Kozan and devoted himself to his own world of painting.
Japanese: 逗留中は鴻山の全面的援助のもとで肉筆画を手がけ、独自の画境に没入していった。
English: The ceiling picture of dashi (float) at a town in Obuse and another ceiling picture at Gansho-in Temple were drawn at that time.
Japanese: このとき描かれたものが、小布施の町の山車の天井絵であり、岩松院の天井絵である。
English: Kanmachi Matsuri yatai tenjo-e is "Angry Waves," which consists of the two pictures of 'Onami (High Wave)' and 'Menami (low wave)' (pictures are on the right of 'Biography and Timeline').
Japanese: 上町祭屋台天井絵は「男浪〈おなみ〉」と「女浪〈めなみ〉」（節「生涯年表」の右列に画像あり）の2図からなる『怒涛図』である。
English: Higashi-machi Matsuri yatai tenjo-e consists of the two pictures of 'Hoo-zu' (the painting of a phoenix) (Hokusai Gallery 8) and "Ryu-zu" (the painting of a dragon).
Japanese: 東町祭屋台天井絵は『鳳凰図』（北斎画廊8）および『竜図』の2図がある。
English: The gorgeous design on the border of "Angry Waves" was drawn by Kozan based on a preliminary sketch by Hokusai.
Japanese: 『怒涛図』の絢爛たる縁どりの意匠は北斎の下絵に基づき鴻山が描いたものである。
English: Despite the ban in those days, it includes a pair of the statue of an angel with wings, which recalls Christianity.
Japanese: 当時は禁制下にあったにもかかわらずキリシタンのものを髣髴（ほうふつ）とさせる1体の有翼天使像が含まれている。
English: A painting of a large phoenix drawn on the ceiling of the large room in the main hall of Gansho-in Temple, the Soto sect, at Obuse in Shinshu.
Japanese: 信州小布施にある曹洞宗寺院・岩松院の本堂、その大間天井に描かれた巨大な1羽の鳳凰図。
English: It was drawn in 1848, without a signature and seal, and it is said that it was written by Hokusai when he was 89 or 90 years old.
Japanese: 嘉永元年（1848年）、無落款、伝北斎88歳から89歳にかけての作品である。
English: According to Tetsuji YURA, Hokusai visited Obuse four times since the age of 83, drew this painting during his fourth stay, in which he spent about a year, and died at age 90 a year after he had completed that challenging work and returned to Edo.
Japanese: 由良哲次説によると、北斎は83歳のときを初めとして4たび小布施を訪れているが、本作は、4たび目の滞在時のおよそ1年を費やして描き込まれ、渾身の一作を仕上げた翌年、江戸に戻った北斎は齢90で亡くなったと考証された。
English: However, today, it is confirmed that Hokusai met his disciple Hokuyo HONMA and gave him 'Oni-zu' (the painting of an ogre) (held at the present Sano Museum) at Asakusa of Edo on July 1848, which was regarded as the month in which Hokusai drew Happo Nirami Hoo-zu.
Japanese: しかし現在では、本図が描かれたとされる嘉年元年六月に、北斎は江戸浅草で門人・本間北曜と面談し、北曜に「鬼図」（現佐野美術館蔵）を与えていた事実が確認されている。
English: Therefore, it becomes increasingly doubtful that Hokusai, who was 89 years old, visited Obuse and drew it with his own hand.
Japanese: 北斎が89歳の老体をもって小布施を訪れ、直接描いたとする説には否定的な見解が強くなっている。
English: At any rate, the phoenix that is drawn on the whole ceiling of the hall with the size of 21 jo (tatami mat) is so large that it is necessary to lie on the floor to see the entire work.
Japanese: しかしながら、21畳敷の天井一面を使って描かれた鳳凰は、畳に寝転ばないと全体が見渡せないほどに大きい。
English: It was drawn with vegetable-oil-based mineral pigments using many expensive mineral ores imported from Qing China, such as cinnabar, malachite and realgar.
Japanese: 植物油性岩絵具による画法で、中国・清から輸入した辰砂・孔雀石・鶏冠石といった高価な鉱石をふんだんに使った。
English: Additionally, the richly colored Zuiju (imaginary animals in ancient China), which is expressed with 4,400 gold leaves, has kept its vivid colors and gloss until today without repainting or any other repairs.
Japanese: 加えて金箔4,400枚を用いて表現された極彩色の瑞獣は、その鮮やかな色彩と光沢を塗り替え等の修復をされることもなく今日に伝えられている。