Notes on the differences between NIJI and SANJI 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 convergence 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 zenith 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 withdrawal 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 otherwise 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.
MAGOTARO = "Coming" of new style. |