YAMASHIRO RAI MAGOTARO KUNITOSHI  

        SANJI "Three characters" RAI KUNITOSHI

NIJI Two-characters KUNITOSHI made the bold style of his middle-late
KAMAKURA peers. Strong, with little tapering in width.

(Note: FUNBARI is a term, properly used to describe the HEIAN 
SUGATA trait of overt width at the base. HEIAN FUNBARI was 
exemplified by the covergence to a very small KO-KISSAKI. 
FUNBARI has become commonly used to describe any noticeable 
difference in width between the upper and lower. This is 
technically incorrect, although common to the tongue. As it is 
colloquial, one should know the difference and make sure in the 
speaking) 

NIJI's work was seated to his peers and style of the mid-KAMAKURA, 
fully expanded upper. Differential in width had receded steadily until 
the 2nd generation FUKUOKA ICHIMONJI pushed SUGATA and YAKIBA to their 
limits around KEN-CHO 1249. 

This zenth of mid-KAMAKURA expansion stayed through BUN-EI 1264, where 
we see a refining. Both SUGATA and YAKIBA become more defined and 
deliberate. 

KYOTO, the always city, had always produced the highest development and 
sophistication of arts and literature. KYOTO refinement was withdrawl 
from overbearance - without weakness. Born of the aristocracy, the 
essence of the Japanese soul was searched and researched in the capital 
provinces. 

RAI swords and schools reflect this. 

While the FUKUOKA pushed all parameters to an extreme, YAMASHIRO sword 
makers articulated their always tasteful sophistication and reserve.

The SUGATA of NIJI KUNITOSHI shows the display of mid-KAMAKURA roots and
domain. MAGOTARO, conversely, creates the SUGATA of the "coming" time. 

There has been confusion in reference because there appears to be no 
over-lap. It would seem possible for a new leader to appear suddenly in 
the midst of an othrwise strong career, but in such cases it would be 
expected to see the early works of the new master before the passing of 
the senior. 

Sometimes a protege would help the master until old age before making 
swords under his own name, NAGAMOTO helping his master, OSAFUNE 
NAGAMITSU is the example. 


The strength of MAGOTARO is seen by his recall from the long past HEIAN, 
a new FUNBARI and with it, a new direction for the whole of the country. 

The KEN-CHO 1249 mid-KAMAKURA expansion of width was most similar with 
the even width of the NAMBOKUCHO. 

MAGOTARO's post mid-KAMAKURA FUNBARI played off the theme of HEIAN SUGATA 
just as NAMBOKUCHO mimicked the expansion of mid-KAMAKURA. 

MAGOTARO KUNITOSHI created and led the retreat from the full SUGATA of 
his father's mid-KAMAKURA roots.

His style departure was not created to counter his father. His was the 
strong stroke of the great master. He did not just change direction, but 
created the direction. 
His narrower SUGATA has no weakness, the upper has complete power. 

RAI KUNITOSHI SHO-O: The SUGATA and HAMON changes definitively to
        mark this work. Considered one of the truly great TANTO
        makers. TACHI is Middle/late-KAMAKURA SUGATA, where the 
        earlier strength of the MONOUCHI withdraws for the 
        graceful lines popular of the SOSHU KAMAKURA movement.
        Here a smaller, slightly elongated KISSAKI is looked for;
        along with a gentle tapering through the MONOUCHI. 
        The HAMON  will be a reserved  CHU-SUGU KO-MIDARE or 
        KO-GUNOME of fairly even height. Structured BOSHI with 
        KO-MARU to deep and long turnback. 

TANTO: May be the wide of YOSHIMITSU or the narrow and thick 
     KAMAKURA TANTO SUGATA - a creation of the AWATAGUCHI lines.

     There are those who say the great TANTO talk to the hand,
     - that the blind can judge by feel alone. 

        He made both types: The narrow, older style, and wide. 
        Often UCHIZORI and MITSU-MUNE. Often KOSHI-HI or KEN. 
        ITAME has fine JI-NIE. HOSO-SUGU or SUGU ASAKI-NOTARE. 
        Small KO-ASHI might battle KINSUJI in a gentle tussle. 
        Subtle SUNAGASHI appears, then hides. AWATAGUCHI line 
        TANTO makers may have a variance of the YAKIBA before 
        the FUKURA at the MONOUCHI. It may be a complexity or 
        a thinning of line. The YAKIBA will usually address 
        the MACHI with variance or figure. 
        KUNITOSHI YAKIBA: Look for a widening or bump of the 
        YAKIBA at the FUKURA. BOSHI then turns in KO-MARU to a 
        deep fall.  
MEI: RAI KUNITOSHI

                ______________________________________


KUNITOSHI Reminder:  Variation of theme is regarded as late work.

        Early - Strong KAMAKURA SUGATA
              - NIE-FUKASHI O-CHOJI MIDARE - DAIBO CHOJI
              - NOTARE/GUNOME BOSHI with slight KAERI
              - Two-character MEI

        Later - SUE-KAMAKURA tapered MONOUCHI to longish KISSAKI
              - Conservative HAMON
              - KO-MARU with deep turnback
              - Three-character MEI 

KOKUHO RAI KUNITOSHI KO-DACHI 

NAGASA: 54.2cm - 1 SHAKU 7 SUN 9 BU 
  SORI: 1.5cm 
NAKAGO: 16.6cm 

SHINOGI-TSURKI, IHORI-MUNE, narrow MIHABA to KO-KISSAKI. An exemplary 
version showing SANJI's SUGATA gift to the later KAMAKURA. 

The tightest KO-ITAME HADA runs under JI-NIE. 

HOSO-SUGU KO-MIDARE, KO-CHOJI BA mixed. Tight NIOI-GUCHI of KO-NIE has 
ASHI and YO. Small KINSUJI pierce the line. 

BOSHI OMOTE has small NOTARE-KOMI with KO-MARU at the head. BOSHI URA is 
SUGU KO-MARU with slight HAKIKAKE. 

Long, slender UBU NAKAGO is perfect example in miniature. One MEKUGI-ANA 
and signed in the SHINOGI-JI:
                               RAI KUNITOSHI

KOKUHO RAI KUNITOSHI 

NAGASA: 72.2cm 
SOORI: 2.4cm 

SHINOGI-TSUKURI, IHORI-MUNE, deep KOSHI-ZORI TACHI. SANJI's SUGATA 
revolution is seen in the narrowing reach. 

SANJI's beautiful and compacted KO-ITAME descends like shaved marble. 
There is JI-NIE and RAI NIE-UTSURI. 

Basic NIOI-GUCHI shows KO-NIE HOSO-width KO-CHOJI-MIDARE BA finding CHOJI 
rises building KOSHIBA to the mid. 

SUGU KO-MARU BOSHI.

Fairly straight-falling UBU NAKAGO is signed in the JI above its 
single MEKUGI-ANA: 
                                        RAI KUNITOSHI