was a Japanese painter and cultural figure during the Muromachi period in the service of the Ashikaga shà Âgunate. Born into a family of renowned artists and curators known as the family, he succeeded his father Nà Âami (Shinno) as curator of the Ashikaga art collection and developed his own career as a painter. He is known for his yamato-e paintings executed in Sumi-e (ink wash) style, continuing the tradition of Tenshà  Shà «bun. Together with his father and his son Sà Âami, he was part of the group referred to as the San-Ami ("Three Amis").
Shingei was active not only as a painter but also as a participant in the broader cultural activities of the Muromachi shogunate. As a member of the (Ã¥ÂÂæÂÂè¡Â) under Ashikaga Yoshimasa, he contributed to a variety of artistic and aesthetic responsibilities, including scroll mounting, interior room arrangement (zashiki kazari), and the composition of (renga, é£æÂÂ) His position within the court placed him in proximity to cultural decision-making and ceremonial aesthetics at the highest level of Ashikaga governance.
In 1480 (Bunmei 12), Shingei completed the hanging scroll ' (観çÂÂå³, Kanpaku-zu), which was presented as a parting gift to his student , a monk from Kenchà Â-ji Temple in Kamakura, upon the conclusion of his training. The painting includes colophons by three Zen monks from the , notably Getsuo Shukyo, and bears the signature "Gakusà  Shingei, 50 years old" along with Shingei's red seal.
Viewing a Waterfall is the only authenticated surviving work attributed to Shingei. The painting is held by the Nezu Museum in Tokyo and is considered a key example of his mature style. The painting incorporates elements from the landscape traditions of Chinese Song Dynasty painters Ma Yuan and Xia Gui, but applies them in a manner consistent with the Japanese ink painting aesthetics of the period. The work has been cited as an early influence on the stylistic developments later associated with the Kanà  school of painting.
In addition to his work as a painter, Shingei composed linked-verse poetry. Two of his renga verses were included in the ', a poetry anthology compiled during the Muromachi period. His inclusion in the collection suggests participation in the literary culture of the Ashikaga court, alongside his visual and curatorial roles.