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The school of CHOGI made MOKUME or KO-MOKUME with O-HADA. JI-NIE and CHIKEI. MIMIGATA-shaped O-GUNOME MIDARE with valleys, squared ________ KAKU and CHOJI-like MIDARE mix in NIOI. SUNAGASHI. SANENAGA "Balanced valleys." Long KAERI. MITSUNAGA |_______________________ __________________ __|__ -brothers- __|______ ___|_____ CHOGI(1) KO-EI 1342 NAGASHIGE(1) KANESHIGE KEM-MU 1334 NAGAYOSHI _____________| TEI-WA 1345 ___|____ | ___|_____ __|______ KANENAGA(1) TEI-JI 1362 | NAGAYOSHI(1) NAGASHIGE(2) | TEI-JI 1362 EN-BUN 1356 |_______________________ ________________________ ____________ __|__ ___|_____ ___|_____ | CHOGI(2) EI-WA 1375 YOSHIKAGE(2) O-AN 1368 TSUNEHIRO | NAGAYOSHI(2) KANEMITSU School man BUN-WA 1352 | CHOSEI or NAGAKIYO Son-in-law CHOGI | _____________ ___________ __________________________ ______| ____|_____ ___|____ ____|____ ___|____ SHIGETSUNA(1) NAGAMORI NAGATSUNA(1) KO-RYAKU 1379 KANENAGA(2) - TEI-JI 1362 - ____|____ O-EI 1394 NAGATSUNA(2) O-EI 1394 "The Ten Students" CHOGI KO-EI (f: MITSUNAGA, grf: SANENAGA): His father will be in the style of SANENAGA. Originally NAGAYOSHI, his skill and resulting fame earned him the reverential, Chinese pronunciation of CHOGI. Born: SHO-O 1288, and died in KEN-TOKU 1370. TOZAEMON. One theory has this one long career, with a marked decline centered about KO-RYAKU 1379. Most writing places SHO-HEI 1346 to EN-BUN 1356 periods for expected pieces. DAITO are rare, TANTO plentiful. NAMBOKUCHO wide TACHI with O-KISSAKI and NAGAMAKI. TANTO are wide and comparatively small. -Early: NIOI HAMON. MOKUME HADA under standing UTSURI. -Later: NIE-DEKI with JI-NIE and CHIKEI tracing grain. GUNOME-MIDARE swings on wide undulations of the YAKIBA. TEI-JI 1362 period finds NOTARE HAKO-BA resembling SENGO MURAMASA School (Note: Unlike CHOGI, SENGO will show MASAME HADA). TOGARI pulls on O-CHOJI MIDARE BA and SAKA-ASHI may be seen in KO-GUNOME MIDARE HA. Skill level declines in swords of KO-RYAKU 1379 and are supposed the work of CHOGI(2). The CHOGI MEI is wide and appears stretched sideways, as if a roller had squeezed or smeared normal characters across the tang to the right. BOSHI: MIDARE. KO-MARU at the head. See BUNKAZAI CHOGI following MEI: BISHU OSAFUNE CHOGI BISHU OSAFUNE JU CHOGI BIZEN OSAFUNE JU CHOGI BIZEN-no-KUNI OSAFUNE JU CHOGI Tokubetsu Juyo Chogi |
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BUNKAZAI CHOGI TACHI
NAGASA: 2 SHAKU 3.6 SUN MOTO-HABA: 1 SUN 3 RIN SORI: 5 BU SAKI-HABA: 8 BU NAKAGO: 7 SUN A possession of the HACHISUKA of TOKUSHIMA. SHINOGI-TSUKURI, IHORI-MUNE, wide TACHI with little curve. BO-HI falls into the NAKAGO from the YOKOTE. Both HI and YOKOTE are low creating the SOSHU influenced NAMBOKUCHO O-KISSAKI SUGATA. KO-ITAME HADA shows JI-NIE and standing MIDARE-UTSURI. Figures are a lively and dynamic mix of smooth GUNOME and KO-GUNOME mounds with compressed KO-CHOJI KO-GUNOME defined of KO-ASHI that tug in different directions. YO drip like tears. NIE JI-BA dot occasionally, and smoke NIOI makes as many efforts at TOGARI. The CHU-width KO-NIE and deep NIOI YAKIBA widens somewhat in the mid where fat GUNOME begins to group into peaks that push and lean. SUNAGASHI and KINSUJI corrupt at opportunistic sights. MIDARE-KOMI BOSHI takes a wide arc to the FUKURA and then walks to a slightly HAKIKAKE KO-MARU head. SURIAGE NAKAGO has four MEKUGI-ANA and a well-shaped KURI-JIRI that cuts under the bottom of his MEI. Signature: BISHU OSAFUNE JU CHOGI |
CHOGI(2) EI-WA: First signed NAGAKIYO or CHOSEI. Moved to HOKI. MEI: BISHU OSAFUNE CHOGI BISHU OSAFUNE CHOGI SAKU HAKUSHU JU CHOGI HOKI-no-KUNI JU CHOGI TSUNEHIRO(1) GEN-TOKU (t: CHOGI): Work from GEN-TOKU 1329 to BUN-WA 1352. O-MIDARE BA. 2nd: KOZORI. MEI: BISHU OSAFUNE TSUNEHIRO BIZEN OSAFUNE TSUNEHIRO SHIGETSUNA(1) TEI-JI (f: CHOGI): Son and student. To EI-WA 1375. MOKUME. KO-GUNOME KO-MIDARE BA. The O-EI engulfs BIZEN and the 2nd SHIGETSUNA is its convert. See O-EI BIZEN MEI: BISHU OSAFUNE SHIGETSUNA NAGATSUNA(1) KO-RYAKU (t: CHOGI): Possibly son. From TEI-JI 1362. MOKUME. NIE JI-BA in O-GUNOME with TOGARI in a NOTARE- MIDARE line. MEI: BISHU OSAFUNE NAGATSUNA NAGATSUNA(2) O-EI: MOKUME HADA with standing O-EI style BO-UTSURI. KOSHI-HIRAKI GUNOME-CHOJI BA. MEI: BISHU OSAFUNE NAGATSUNA KANESHIGE KEM-MU (t: CHOGI): Indirect student. Some say he was the brother of CHOGI. Work to TEI-JI 1362. SOSHU style. CHOJI HASU-MIDARE with SAKA-ASHI. MEI: BISHU OSAFUNE KANESHIGE BIZEN-no-KUNI JU KANESHIGE BIZEN-no-KUNI OSAFUNE JU KANESHIGE KANENAGA(1) TEI-JI (f: KANESHIGE): To KA-KEI 1387. Also thought possibly the son of NAGASHIGE. There are two theories: First - KANENAGA was one man working until the O-EI. Second - There were two generations, the 2nd, a CHOGI student who presents work in SHI-TOKU 1384 to the O-EI. Early is NAMBOKUCHO, possibly SAKIZORI TANTO. Wide bodied, thin blades. Later we see elongated SUN-NOBI MU-SORI of OEI fame. Early work is seen to portray the SODEN style, with TOBI-YAKI HAMON patterns appearing almost HITATSURA. KO-NIE DEKI KUZURE-like GUNOME and O-CHOJI MIDARE BA, SOSHU style. Most long swords are O-SURIAGE. Note: Some ZAI-MEI may not fit the mold. KANENAGA: Small MEI in thick strokes. MEI: BISHU OSAFUNE KANENAGA BIZEN-no-KUNI JUNIN KANENAGA Tokubetsu Juyo Kanenaga |
KANENAGA(2) O-EI (t: CHOGI): From SHI-TOKU 1384. MOKUME HADA. The beauty of the O-EI is seen in this KO-NIE GUNOME-CHOJI MIDARE BA. A possible third in O-EI: See O-EI BIZEN - MORIKAGE Group MEI: BISHU OSAFUNE KANENAGA BISHU OSAFUNE JU KANENAGA NAGAMORI TEI-JI (t: CHOGI, f: NAGASHIGE): From TEI-JI 1362 to KEN-TOKU 1370. Wide, thin, SAKIZORI TANTO, SODEN style and NAGAMAKI. ASAKI-NOTARE undulation of KO-GUNOME that is evenly set. KINSUJI and SUNAGASHI run under YUBASHIRI JI-BA flares that dance in NIE-DEKI KO-GUNOME MIDARE HA. MEI: BISHU OSAFUNE JU NAGAMORI BIZEN-no-KUNI OSAFUNE JU SAKON SHOGEN NAGAMORI YOSHIKAGE(2) O-AN (t: KANEMITSU): KANEMITSU school and style. Said to be son-in-law of CHOGI. CHOGI is also said the son-in-law of YOSHIKAGE(1). MOKUME. ASAKI-NOTARE GUNOME- CHOJI BA. See KANEMITSU School MEI: BISHU OSAFUNE YOSHIKAGE BIZEN-no-KUNI OSAFUNE JU YOSHIKAGE |
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