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YAMASHIRO AYAnoKOJI School AYANOKOJI are similar to SANJO. SANJO and GOJO smith lines were generally the feeder-source. KO-MOKUME HADA. KO-CHOJI KO-MIDARE. Double-petal CHOJI. The school is renowned for refined beauty. ___________ SADATOSHI AYANOKOJI Founder JO-EI 1232 ARIKUNI HO-JI 1247 |_______________________ ________________________ __________ ____|____ ___|____ ____|____ | SADATOSHI SHO-O 1288 SADANORI SHO-AN 1299 SADAYOSHI | |___________ ___|____ KO-AN 1278 | ____|___ ___|___ KUNINOBU KEM-MU 1334 | SADAYASU IYEYASU | KO-O 1389 TEI-WA 1345 | _____________ _________________________ ___________________| ____|___ ___|___ ___|____ IYETOSHI SADAIYE EI-NIN 1293 SADANARI(1) KO-AN 1278 EI-NIN 1293 ___|_____ ___|____ SADATSUGU GEN-TOKU 1329 SADANARI(2) KA-REKI 1326 ____________________ ________ AWATAGUCHI TADAYOSHI BUN-O 1260 SUKESADA BUN-EI 1264 |_______________________ ___|____ _____________|___ ________________|____ SUYEYUKI KA-GEN 1303 AYANOKOJI TADAIYE ABURANOKOJI TADAYOSHI RYAKU-O 1338 KEM-MU 1334 SADATOSHI JO-EI: AYANOKOJI Founder at YOJO AYANOKOJI. YATARO. Buddhist name: RYOAMI. A GOJO line smith, his time was the transition between early KAMAKURA and mid. Work period estimated as starting around SHO-KYU 1219 and continuing through the `40s, although his dates are often listed as later. One source claims him a son of RAI KUNIYOSHI, which goes with an attendant theory that GOJO to AYANOKOJI SADATOSHI and contemporary RAI KUNIYUKI (AWATAGUCHI KUNIYOSHI son) traded secrets or were peers as both show CHOJI patterns with distinct similarities. SADATOSHI has inter-linked TOBI-like JI-BA and a plainly starker definition, where KUNIYUKI (as all RAI School) endeavored width of YAKIBA through the BOSHI. The BOSHI of KUNIYUKI and his father, KUNIYOSHI is generally smooth. The consistency of SADATOSHI's CHOJI line may seem broken from happenstantial effects at the quench. An otherwise absent high-reaching CHOJI leaves dotting JI-BA to remind its departure. This presumed confidence has been much appreciated over the years. The technique masks a YAKIBA plan with a similar width to that of RAI but the SADATOSHI BOSHI would be not smooth. His SUGATA was made to reflect a grace found of earlier pieces, while the usual KUNIYUKI is solidly mid-KAMAKURA. SADATOSHI was perhaps, a little earlier than RAI's KUNIYUKI. SUGATA will be deep KOSHIZORI, KO-KISSAKI TACHI. Seemingly even, the measure shows FUNBARI. KO-KISSAKI can be an elongated or reaching IKUBI. A JI-NIE veil dresses standing KO-MOKUME that runs. KO-NIE in clear NIOI-FUKASHI presents "Flower-petal" KO-CHOJI or KO-GUNOME that is KO-MIDARE. HAMON shows small TOBI-YAKI that seem connected together. MEI: SADA is large, TOSHI - small. The SADA appears as though someone erased its left side. |
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Emperor MEIJI's favorite. Style is old and
classic, a normal width coupled to great length confuses one's perception.
BO-HI vanquishes the entire SHINOGI-JI - save a small wedge that tributes
the KO-SHINOGI. The widening mid sees NIOI NIJU doubling within DAI-BO
CHOJI columns and occasional jutting GUNOME that push through the crush
of a crowded and disintegrating KO-CHOJI line. RAI style JI-BA boulders
demand admittance.
The BOSHI is debris piled against the FUKURA with defused TOBI suspended above. The relaxed cloud drifts over the KO-SHINOGI to the MUNE creating the KAERI of a now lost ghost. Curved KIJI-MOMO UBU NAKAGO with one MEKUGI-ANA sweeps to a rounded JIRI. His two character MEI resides low, near the NAKAGO-MUNE:SADATOSHI |
BUNKAZAI SADATOSHI
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NAGASA: 78.3cm SORI: 2.7cm SHINOGI-TSUKURI,IHORI-MUNE, deeply curved TACHI. MIHABA is a slow tapering to its KO-KISSAKI. An even veil of JI-NIE covers KO-ITAME. NIE and NIOI FUKSASHI KO-MIDARE BA exchange position with KO-CHOJI-MIDARE on even intervals. NOTARE BOSHI, KO-MARU to slight KAERI.The long sweep of his UBU NAKAGO has one MEKUGI-ANA and his stylized, two- character MEI to the MUNE: SADATOSHI |
YAMASHIRO AYANOKOJI School
ARIKUNI HO-JI: From OSAFUNE. JOSHU AYAKOJI JU ARIKUNI SADATOSHI SHO-O (t: SADATOSHI): He changed his HOU, "Trailing footsteps" TOSHI to that of his teacher (LI - benefit from labor) in KEM-MU 1334. SADAYOSHI KO-AN (f: SADATOSHI): Often listed in KA-REKI 1326. He made SHINOGI-TSUKURI, IHORI-MUNE TACHI with IKUBI KO-KISSAKI, FUNBARI SUGATA. KO-ITAME under JI-NIE. NIE KO-MIDARE BA to KO-CHOJI, noted for serenity. KINSUJI is found in a MIDARE BOSHI that is HAKIKAKE. The SADA is cut large in a somewhat grass-style snaking line. The YOSHI is small, its SHI radical, two distinct pieces - stacked on a brick. SADANARI(1) KO-AN (f: SADATOSHI): NISHIKIKOJI JU. Son and student ITAME HADA. KO-MIDARE BA and KO-CHOJI KO-MIDARE BA. SADANARI(2) KA-REKI (f: SADANARI 1): From SHO-WA to SHO-CHU 1324. KO-MIDARE BA or KO-CHOJI KO-MIDARE. SADANORI SHO-AN (t: SADATOSHI): YOJO AYANOKOJI JU. From SHO-AN to SHO-CHU 1324. KO-MIDARE or KO-CHOJI KO-MIDARE. SUYEYUKI KA-GEN (f:SUKESADA): ITAME HADA. SUGUHA with ASHI and KO-CHOJI BA. SADATSUGU GEN-TOKU (t: SADAIYE): From GEN-TOKU to TEI-WA 1345. ITAME HADA. GUNOME with ASHI. TADAYOSHI BUN-O: This could represent a confusion of events. His dates start in KEN-CHO 1249, but other sources say he was ABURANOKOJI TADAYOSHI of KEM-MU and father of TADAIYE. AWATAGUCHI YOSHIMASAs' son, TADAYOSHI was student of AWATAGUCHI HISAKUNI. AWATAGUCHI style fine KO-MOKUME. KO-MIDARE of KO-CHOJI BA. TADAYOSHI TADAIYE RYAKU-O (F: TADAYOSHI): TOGORO. AWATAGUCHI. Work appears in EN-BUN 1356. Off to BINGO with AWATAGUCHI style. KO-MOKUME. NOTARE-MIDARE. ABURAKOJI TADAIYE ABURAKOJI TADAIYE TSUKURU _________ ________ _______ SUKEMITSU SADAYASU ARIYUKI KA-GEN 1303 - EN-KEI 1308 - ________ SUKESADA EN-BUN 1356 To RYOKAI School |
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